diff --git a/codegen.local.ts b/codegen.local.ts index ef30b02ed..861df5289 100644 --- a/codegen.local.ts +++ b/codegen.local.ts @@ -10,6 +10,7 @@ const config: CodegenConfig = { }, }, config: { + enumsAsTypes: true, maybeValue: "T", typesPrefix: "GQL", }, diff --git a/codegen.server.ts b/codegen.server.ts index 84a95ce7f..aef704bc4 100644 --- a/codegen.server.ts +++ b/codegen.server.ts @@ -13,6 +13,7 @@ const config: CodegenConfig = { }, }, config: { + enumsAsTypes: true, maybeValue: "T", typesPrefix: "GQL", }, diff --git a/e2e/apiMocks/authenticated_MyNDLALearningpath.spec.ts_can_copy_learningpath_link.har b/e2e/apiMocks/authenticated_MyNDLALearningpath.spec.ts_can_copy_learningpath_link.har index 65e134c70..bdd83f5f9 100644 --- a/e2e/apiMocks/authenticated_MyNDLALearningpath.spec.ts_can_copy_learningpath_link.har +++ b/e2e/apiMocks/authenticated_MyNDLALearningpath.spec.ts_can_copy_learningpath_link.har @@ -1 +1 @@ -{"log":{"version":"1.2","creator":{"name":"Playwright","version":"1.57.0"},"browser":{"name":"chromium","version":"143.0.7499.4"},"entries":[{"startedDateTime":"2026-03-19T13:35:17.379Z","time":6.812,"request":{"method":"POST","url":"https://api.test.ndla.no/graphql-api/graphql","httpVersion":"HTTP/2.0","cookies":[],"headers":[{"name":"origin","value":"http://localhost:3000"},{"name":"referer","value":"http://localhost:3000/minndla/learningpaths?disableSSR=true"},{"name":"user-agent","value":"Mozilla/5.0 (Macintosh; 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test

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test

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Lenker fra @ndla_no på Instagram:

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asd asd
asd

\",\"htmlTitle\":\"Jonas tester lenke i bio\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/38333\",\"traits\":[],\"revision\":131,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":null},{\"id\":21036,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":2,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":null},{\"id\":21037,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":3,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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To PC-er på bordet.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/TxuBxWD4.jpg\",\"title\":\"Bildegenerering\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Stina Åshildsdatter Grolid\",\"type\":\"photographer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69440\",\"altText\":\"Bakhodet på gutt som sitter ved en datamaskin og genererer bilder.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/XkHVKxkN.jpg\",\"title\":\"NDLAs praterobot\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69445\",\"altText\":\"Fire blide elever ser på en skjerm.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/z1nWbt9p.jpg\",\"title\":\"Årsplaner\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69446\",\"altText\":\"Lærer med grått hår og grå genser viser fram et ark med tekst til gutt med sort hår og sort genser.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/rrX6XE6p.jpg\",\"title\":\"Lærertips\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69447\",\"altText\":\"Blid mannlig lærer i grønn skjorte og sort bukse sitter på en pult i et klasserom.\",\"copyText\":null}],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Lenker fra @ndla_no på Instagram:

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asd asd
asd

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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To PC-er på bordet.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/TxuBxWD4.jpg\",\"title\":\"Bildegenerering\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Stina Åshildsdatter Grolid\",\"type\":\"photographer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69440\",\"altText\":\"Bakhodet på gutt som sitter ved en datamaskin og genererer bilder.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/XkHVKxkN.jpg\",\"title\":\"NDLAs praterobot\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69445\",\"altText\":\"Fire blide elever ser på en skjerm.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/z1nWbt9p.jpg\",\"title\":\"Årsplaner\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69446\",\"altText\":\"Lærer med grått hår og grå genser viser fram et ark med tekst til gutt med sort hår og sort genser.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/rrX6XE6p.jpg\",\"title\":\"Lærertips\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69447\",\"altText\":\"Blid mannlig lærer i grønn skjorte og sort bukse sitter på en pult i et klasserom.\",\"copyText\":null}],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Lenker fra @ndla_no på Instagram:

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asd asd
asd

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21083,\"title\":\"test\",\"seqNo\":15,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21084,\"title\":\"Test deg selv\",\"seqNo\":16,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21085,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":17,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21086,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":18,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21088,\"title\":\"Test deg selv\",\"seqNo\":20,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21089,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":21,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21090,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":22,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21092,\"title\":\"test\",\"seqNo\":23,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21093,\"title\":\"Test deg selv\",\"seqNo\":24,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21094,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":25,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21095,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":26,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21096,\"title\":\"test\",\"seqNo\":27,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21097,\"title\":\"Test deg selv\",\"seqNo\":28,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21098,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":29,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21099,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":30,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21102,\"title\":\"Test deg selv\",\"seqNo\":32,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21103,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":33,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21104,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":34,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21119,\"title\":\"test\",\"seqNo\":35,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21120,\"title\":\"Test deg selv\",\"seqNo\":36,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21121,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":37,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21122,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":38,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21123,\"title\":\"test\",\"seqNo\":39,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21124,\"title\":\"Test deg selv\",\"seqNo\":40,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21125,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":41,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21134,\"title\":\"test\",\"seqNo\":42,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21135,\"title\":\"test\",\"seqNo\":43,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21136,\"title\":\"Test deg selv\",\"seqNo\":44,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21137,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":45,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21138,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":46,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21153,\"title\":\"test\",\"seqNo\":47,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21154,\"title\":\"Test deg selv\",\"seqNo\":48,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21155,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":49,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21156,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":50,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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Lenker fra @ndla_no på Instagram:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"

asd asd
asd

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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Lenker fra @ndla_no på Instagram:

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asd asd
asd

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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To PC-er på bordet.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/TxuBxWD4.jpg\",\"title\":\"Bildegenerering\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Stina Åshildsdatter Grolid\",\"type\":\"photographer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69440\",\"altText\":\"Bakhodet på gutt som sitter ved en datamaskin og genererer bilder.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/XkHVKxkN.jpg\",\"title\":\"NDLAs praterobot\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69445\",\"altText\":\"Fire blide elever ser på en skjerm.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/z1nWbt9p.jpg\",\"title\":\"Årsplaner\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69446\",\"altText\":\"Lærer med grått hår og grå genser viser fram et ark med tekst til gutt med sort hår og sort genser.\",\"copyText\":null},{\"src\":\"https://images.test.ndla.no/rrX6XE6p.jpg\",\"title\":\"Lærertips\",\"copyright\":{\"license\":{\"url\":null,\"license\":\"COPYRIGHTED\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[],\"rightsholders\":[{\"name\":\"NDLA\",\"type\":\"rightsholder\",\"__typename\":\"Contributor\"}],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"__typename\":\"ImageLicense\",\"id\":\"69447\",\"altText\":\"Blid mannlig lærer i grønn skjorte og sort bukse sitter på en pult i et klasserom.\",\"copyText\":null}],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Lenker fra @ndla_no på Instagram:

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asd asd
asd

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21083,\"title\":\"test\",\"seqNo\":15,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21084,\"title\":\"Test deg selv\",\"seqNo\":16,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21085,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":17,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21086,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":18,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21087,\"title\":\"test\",\"seqNo\":19,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21088,\"title\":\"Test deg selv\",\"seqNo\":20,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21089,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":21,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21090,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":22,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21092,\"title\":\"test\",\"seqNo\":23,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21093,\"title\":\"Test deg selv\",\"seqNo\":24,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21094,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":25,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21095,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":26,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21096,\"title\":\"test\",\"seqNo\":27,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21097,\"title\":\"Test deg selv\",\"seqNo\":28,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21098,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":29,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21099,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":30,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21101,\"title\":\"test\",\"seqNo\":31,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21102,\"title\":\"Test deg selv\",\"seqNo\":32,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21103,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":33,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21104,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":34,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21119,\"title\":\"test\",\"seqNo\":35,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21120,\"title\":\"Test deg selv\",\"seqNo\":36,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21121,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":37,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21122,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":38,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21123,\"title\":\"test\",\"seqNo\":39,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21124,\"title\":\"Test deg selv\",\"seqNo\":40,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21125,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":41,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21134,\"title\":\"test\",\"seqNo\":42,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21135,\"title\":\"test\",\"seqNo\":43,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21136,\"title\":\"Test deg selv\",\"seqNo\":44,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21137,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":45,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21138,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":46,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21153,\"title\":\"test\",\"seqNo\":47,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21154,\"title\":\"Test deg selv\",\"seqNo\":48,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21155,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":49,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21156,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":50,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21158,\"title\":\"test\",\"seqNo\":51,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21159,\"title\":\"Test deg selv\",\"seqNo\":52,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":null},{\"id\":21160,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":53,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":null},{\"id\":21161,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":54,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"TEXT\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

\"},\"__typename\":\"Article\",\"grepCodes\":[\"KE1602\",\"KE1603\",\"KM12097\",\"KM12075\"],\"htmlIntroduction\":\"Dialoger mellom personer er vanlig å ha med i de fleste skjønnlitterære tekster. De er med på å drive handlinga framover og skaper liv i ei fortelling.\",\"htmlTitle\":\"Hvordan og hvorfor bruke dialoger? \",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/21458\",\"traits\":[],\"revision\":72,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21162,\"title\":\"test\",\"seqNo\":55,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"test\",\"type\":\"TEXT\",\"description\":\"

test

\",\"opengraph\":null,\"resource\":null,\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":{\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"__typename\":\"LearningpathCopyright\",\"contributors\":[{\"type\":\"writer\",\"name\":\"Anne LærerVGS Haugen\",\"__typename\":\"Contributor\"}]}},{\"id\":21163,\"title\":\"Test deg selv\",\"seqNo\":56,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"ARTICLE\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:c88bbe7a-04b2-4602-a63e-9aca097ce910\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/verktoykassa---for-elever/test-deg-selv/d7c5de1c12\",\"relevanceId\":\"urn:relevance:supplementary\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":17341,\"metaDescription\":\"Hva har du lært etter å ha arbeidet med læringsstien \\\"Lær deg å lære\\\"? Test deg selv!\",\"created\":\"2019-03-13T08:06:32.000Z\",\"updated\":\"2022-12-06T10:09:23.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Test deg selv\",\"published\":\"2019-03-13T08:06:32.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Marthe Johanne Moe\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/tankekart_1.png\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Hva kan du om læring og læringsstrategier nå? Test deg selv.\",\"htmlTitle\":\"Test deg selv\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/17341\",\"traits\":[\"INTERACTIVE\"],\"revision\":33,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"showTitle\":false,\"copyright\":null},{\"id\":21164,\"title\":\"Nasjonal digital læringsarena - NDLA\",\"seqNo\":57,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"type\":\"EXTERNAL\",\"description\":null,\"opengraph\":{\"title\":\"Nasjonal digital læringsarena - NDLA\",\"description\":\"Åpne og fritt tilgjengelige ressurser for videregående opplæring. Utviklet og oppdatert i samarbeid med dyktige lærere og elever.\",\"url\":\"https://ndla.no/\",\"__typename\":\"ExternalOpengraph\"},\"resource\":null,\"embedUrl\":{\"embedType\":\"external\",\"url\":\"https://ndla.no\",\"__typename\":\"LearningpathStepEmbedUrl\"},\"oembed\":null,\"showTitle\":false,\"copyright\":null},{\"id\":21165,\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"seqNo\":58,\"__typename\":\"MyNdlaLearningpathStep\",\"introduction\":null,\"type\":\"TEXT\",\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:3c3cc720-c121-4bcc-89a2-8c48a32e37be\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/norsk-sf-vg1/hvordan-og-hvorfor-bruke-dialoger/28ec0567d6\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:tasksAndActivities\",\"name\":\"Oppgave\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":21458,\"metaDescription\":\"Hvorfor er det lurt å ha med dialoger når du skriver skjønnlitterært, og hvordan skal du sette opp dialogene?\",\"created\":\"2019-12-17T09:50:08.000Z\",\"updated\":\"2022-02-21T08:08:30.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Hvordan og hvorfor bruke dialoger?\",\"published\":\"2019-12-17T09:50:08.000Z\",\"supportedLanguages\":[\"nb\",\"nn\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[{\"name\":\"Åsa Abusland\",\"type\":\"writer\",\"__typename\":\"Contributor\"}],\"processors\":[{\"name\":\"Ragnfrid Myhr\",\"type\":\"linguistic\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":{\"image\":{\"imageUrl\":\"https://images.test.ndla.no/373552009.jpg\",\"__typename\":\"ImageV3\"},\"alttext\":{\"alttext\":\"Mann og kvinne under snakkeboble. Foto\",\"__typename\":\"ImageAltText\"},\"__typename\":\"ImageMetaInformationV3\"},\"competenceGoals\":[{\"id\":\"KM12097\",\"code\":\"KM12097\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"},{\"id\":\"KM12075\",\"code\":\"KM12075\",\"title\":\"kombinere virkemidler og uttrykksformer kreativt i egen tekstskaping\",\"type\":\"LK20\",\"__typename\":\"CompetenceGoal\"}],\"coreElements\":[{\"id\":\"KE1602\",\"title\":\"Skriftlig tekstskaping\",\"__typename\":\"CoreElement\"},{\"id\":\"KE1603\",\"title\":\"Språket som system og mulighet\",\"__typename\":\"CoreElement\"}],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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Oppgave 1

Oppgave 2

Forklar fordelene med disse ulike læringsstrategiene til en medelev:

Oppgave 3

En venn av deg skal ha en stor prøve i naturfag. Læreren har lagt ut lenker til flere ressurser, og hun skal i tillegg holde en repetisjonsforelesning før prøven. Hvilke råd vil du gi til vennen din? Skriv ned minst tre konkrete råd om hvordan han best kan lære fra disse teksttypene:

Oppgave 4

Svar på spørsmålene:

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Oppgave 1

En skjønnlitterær tekst, som for eksempel ei novelle eller en roman, er vanligvis bygd opp av mange deler. Eksempler kan være

Les utdraget fra romanen Få meg på, for faen av Olaug Nilssen under. Hvilke av begrepene over vil du bruke om oppbygginga av utdraget?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Ein torsdagskveld då dei sat og såg eit program om den norske kongefamilien, ringte det ein meiningsmålingsmann til familien til Sebjørn. Sebjørn tok telefonen, og ettersom meingsmålingsmannen ville snakke med den over atten år i familien som sist hadde bursdag, gav han røret til kona si, som fylte førtifire år veka før.

- Kven er det, kviskra ho då Sebjørn strekte seg over stovebordet med den berbare telefonen.
- Ein meiningsmålingsmann, kviskra Sebjørn, og ansiktet til kona blei til ein grimase.
- Kunne du ikkje sagt at eg ikkje var heime? kviskra ho, og Sebjørn svarte litt surt:
- Ja, no er det for seint, du får seie det sjølv.
Kona tok telefonen og sa:
- Ja, hallo, kor lang tid tar dette?
- Det vil berre ta 30 sekund, sa meiningsmålingsmannen, og då syntes kona til Sebjørn at det var greitt.
- Skal vi sette i gang? spurte meiningsmålingsmannen.
- Ja! sa kona til Sebjørn kjekt.
- Kven i kongefamilien likar du best? spurte meiningsmålingsmannen,\\\"

Løsning

Den første delen er et handlingsreferat. Det forteller om hva som skjer. Det andre delen er en dialog, altså en samtale mellom personer.

Hvorfor skal du ha med dialoger?

Det går fint an å skrive skjønnlitterære tekster uten dialoger. Mange store forfattere har gjort det med suksess. Om du likevel ikke er utrolig god til å skrive innsiktsfulle strømmer av bevissthet, er fordelene med dialoger mange:

  1. Leseren kan bli bedre kjent med personen din. Kanskje kan det være en kontrast mellom hva hen sier og tenker?
  2. Dialogene får fram hvilket forhold det er mellom personene i ei fortelling. Har et par et kjølig forhold? Få det fram gjennom iskalde og følelsesløse replikker.
  3. Det å veksle mellom handlingsreferat, miljøbeskrivelser, personskildringer og dialog vil skape en livfull historie. Mange elever har en tendens til å skrive tekster som bare består av tankereferat. Disse tekstene kan ofte framstå som litt monotone.
  4. Dialoger er fantastiske steder å la det oppstå spenning mellom karakterene!
  5. Dialoger gjør historien din mer realistisk. Gjennom dialogene kan du vise leseren din hva som skjer uten å si det direkte. Ønsker du å få fram at karakteren din ikke er til å stole på? Vis det gjennom en troverdig dialog, heller enn å fortelle det rett ut.

Oppgave 2

Les dialogen under. Det er en fortsettelse av dialogen på toppen av denne sida.

  1. Hvordan framstår de to personene i dialogen?
  2. Det kan virke som om kona holder noe skjult. Hvordan kommer dette fram gjennom dialogen?

Utdrag fra Få meg på, for faen av Olaug Nilssen

\\\"Kva ville meiningsmålingsmannen? spurte Sebjørn.
- Ingenting, svarte kona fort.
- Ingenting? spurte Sebjørn
- Han ville vite kva vi hadde ete til middag, så eg gjekk ut på kjøkkenet for å prøve å hugse kva det var vi sat her og åt.
Sebjørn såg rart på kona si.
- Hugsa du ikkje at vi hadde fiskepinnar?
- Nei! sa kona.
- Kunne du ikkje berre ha spurt oss? spurte Sebjørn
- Kunne ikkje han berre ha spurt deg, sa kona fort, til kva Sebjørn gapte forferda før han riste på hovudet og slo ut med hendene for å signalisere at han gav opp eller at han toa sine hender. Ho tenkte:
- Typisk Sebjørn å forlange at eg skal spørje han før eg svarar på noko.\\\"

Hvordan sette opp dialoger?

I utdragene fra romanen Få meg, på for faen av Olaug Nilssen ser du hvordan du kan sette opp dialoger. Dette er selvfølgelig ingen fasit. Det er mange måter å gjøre det på, men det viktigste er nok å skille ut dialogen fra handlingsreferatet.

Det kan fungere fint å markere skifte i hvem som snakker med en tankestrek, slik Nilssen har gjort det over. I tillegg kan du bruke verb som \\\"sa\\\", \\\"spurte\\\", \\\"hvisket\\\", \\\"ropte\\\" og lignende for å vise hvordan personene sier noe.

Oppgave 3

Skriv en dialog mellom to jenter som møtes på gata: Kaja og Kathrine. Kathrine har nettopp fått vite at Kaja har baksnakket henne på det groveste til deres felles venner.

Kathrine er rasende og såret. Samtidig vil hun ikke vise Kaja at hun vet om baksnakkinga. Hun vet nemlig at om ryker uklar med Kaja, mister hun hele vennegjengen. Når det gjelder Kaja, er hun litt usikker på om Kathrine har fått rede på hva hun har gjort, men hun prøver å late som ingenting.

Alternativ 1

Skriv dialogen aleine.

Alternativ 2

Skriv dialogen sammen med en i klassen. En av dere skal skrive replikkene til Kathrine, en annen replikkene til Kaja. Husk verb som viser hvordan de snakker etter replikkene.

I tillegg går det an å beskrive de kroppslige reaksjonene til personene. For eksempel kan det si mye om en karakter om du etter replikken skriver: \\\"smilte hun falskt, mens hun kikka bort\\\".

Kilde

Nilssen, Olaug (2005). Få meg på for faen, Oslo: Samlaget.

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test

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test

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test

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test

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Slamsystemet

Rensesystemet skal fjerne borekaks som følger med opp fra hullet sammen med slammet, slik at renset slam kan føres tilbake til brønnen. Om slammet ikke har de riktige egenskapene i forhold til brønnen, kan det resultere i store skader på brønnen og boreutstyret. Etter renseprosessen blir slammet nøye kontrollert for å være sikker på at rensesystemet har gjort en tilfredsstillende jobb.

Rensesystemene bygges sammen av ulike komponenter etter det behovet man har. Det er ikke ønskelig å trekke for mye partikler ut av slammet fordi det betyr at slammet må tilsettes mer vektmateriale før det går tilbake til brønnen. Det er forskjell på hvordan rensesystemet ser ut og hvilket ekstrautstyr som brukes fra rigg til rigg.

Kaksbehandling

Det er svært strenge grenser for utslipp av boreslam på norsk sokkel. Det er viktig å ha fokus og være konsentrert når man holder på med sirkulasjon og behandling av slam. Det er imidlertid en forskjell om man borer med vannbasert eller oljebasert boreslam. Brukes vannbasert slam, er det tillatt å slippe borekakset tilbake i havet så lenge det ikke er hydrokarbonforurensning på kakset. Dette er ikke tillatt for borekaks som er forurenset av oljebasert slam. I tilfeller hvor det bores med oljebasert slam må man samle opp alt kakset og sende det til land for videre behandling.

En annen løsning som benyttes, er kaks-injeksjon. Kaks-injeksjon gjøres for å kvitte seg med oljeforurenset borekaks, samtidig som det bygger opp igjen styrken til et reservoar når det tømmes for olje eller gass. Da unngår man kollaps i formasjonen og det er lønnsomt og funksjonelt.


Kakset renses og behandles i flere steg før det injiseres tilbake til en injeksjonsbrønn. Det kreves en del ekstra utstyr om bord for å kunne gjøre denne operasjonen. Det har imidlertid vist seg at brønnene som brukes til kaks-injeksjon ikke alltid holder helt tett, hele 10 prosent av brønnene har fått påvist lekkasje til det ytre miljø.

Lagring av slam

Under boring av en brønn trenger man store mengder med boreslam. Det skal være nok slam til hele brønnen, alt overflateutstyret og noe i tankene. Det er også ønskelig å skifte ut deler eller hele mengden med slam underveis i borefasene når formasjonsegenskapene endrer seg.
I tillegg kommer volumet som riseren inneholder når brønnen er tilkoblet overflaten med BOP og riser. Dette krever at det finnes tilstrekkelig med lagringsplass for slam ombord på installasjonen.

På de fleste installasjoner finnes det et todelt væskelagringssystem; lager for baseslam og lager for ferdigblandet slam. Baseslam inneholder de grunnleggende kjemikaliene som er nødvendig uansett hvordan det ferdigblandete slammet skal være.

Det består av væsken (vann- eller oljebasert slam), vektmateriale (barytt) og bentonitt som øker viskositeten i væsken. Baseslammet brukes til å mikse det ferdigblandete slammet.

Baseslam fraktes med båter til feltet og blir pumpet over til installasjonen. Om bord i plattformen blir det lagret på store tanker som er plassert i skaftene eller i et egnet område (slam-modul) dersom plattformen ikke har skaft. Lagertankenes størrelse varierer, og de kan være så store at de har en samlet kapasitet på over 2500 m3 baseslam.

På flytende rigger er det normalt med 600 til 1800 m3 lagerkapasitet for slam. Flytende rigger har ofte to ulike lagersystemer, hovedlager for slam på dekk i nærheten av pumperommet, og reservelager i beina (skaftene) eller pontongene. I tillegg lagres tørrstoffene barytt og bentonitt i egne bulkstasjoner om bord.

Dersom boreslam blir stående i tankene for lenge uten bevegelse, vil barytten i slammet falle til bunns i tanken. Derfor er alle tankene om bord utstyrt med en eller flere agitatorer, avhengig av tankens størrelse.

To ulike metoder for å mikse slam ombord

Baseslam

Når man har behov for å lage ferdigblandet slam, pumpes baseslam gjennom rørlinjer fra tankene i skaftet og opp i mindre tanker som heter aktiv tank (active mud tank). Disse mindre tankene blir ofte omtalt som pit.

I slammet tilsettes vektmateriale, viskositetsøkende materiale, eller andre tilsetningsstoffer som er nødvendig etter behovet i brønnen. Dette skjer ved hjelp av en transferpump som pumper slammet fra den tanken man ønsker å blande i, gjennom rørlinjer, og tilbake til samme tank. Denne tanken ser man da på som en aktiv blandetank (mixing tank). På denne turen har slammet vært innom mikserommet og blitt tilsatt ønskede kjemikalier for å oppnå de egenskaper som er nødvendig for slammet.

Tørrstoff

Vektmateriale, viskositetsøkende materiale og tilsetningsstoffer kan tas ombord i pulverform. Det lagres i bulksystemet, sekker og big-bags . Når det skal blandes sammen, pumpes det til miksestasjonen der alt samles i et rørsystem som går til pit.

Slammet sirkuleres rundt i blandesløyfen, får tilsatt kjemikalier og testes inntil mudingeniør er fornøyd med slammets egenskaper. Når mudingeniøren er fornøyd, er slammet ferdigblandet og klart til å pumpes gjennom sirkulasjonssystemet ved hjelp av mudpumpene. Slammet oppbevares i pitten til det er klart for slambytte i brønnen.

Samtidig aktivitet

Samtidig som blanding av nytt slam foregår, kan aktivt slam sirkuleres gjennom brønnen og overflatesystemet til de andre aktive tankene. Når det nye slammet skal brukes, kobles aktiv pit ut og blandetanken kobles inn mot slampumpene som sirkulerer slammet til brønnen. Nå endrer blandetanken status til aktiv pit på systemet.

Tankene som er tilknyttet pumperommet er mindre enn lagertankene. Størrelsen på tankene kan variere fra 15 m3 til 80 m3. De store forskjellene kommer av hvor stort volum som er nødvendig av ulike slamblandinger. Tankene har navn som Active, Reserve, Chemical og Slug. Slugtank brukes når det skal mikses en liten mengde slam med spesielle egenskaper (kalles ofte en pille). I kjemikalietanken tilsettes kjemikalier som gir slammet spesielle egenskaper. Kjemikalietanken er et lukket system med avsug for sikker håndtering av kjemikaliene. Reservetanken inneholder ofte tungt slam (killmud ) som står klart i tilfelle man får et kick i brønnen.

Sirkulasjonssystemet

Slammet pumpes fra tanken (active pit) opp til boredekk. Der går væsken gjennom et rør i top drive og videre innvendig ned gjennom borestrengen og ut av dysene i borekronen. Etter at slammet har kommet ut av borekronen, begynner det på returen tilbake til tanken.

Sammen med returstrømmen løftes borekaksut fra brønnen. Returvæsken (slam med forurensninger) stiger oppover på utsiden av borestrengen og tilbake til overflaten.

På overflaten går slammet gjennom et anlegg som består av flere typer rensemaskiner. Slammet filtreres og renses for urenheter i en renseprosess i flere faser. Gjennom ulike metoder med filter og rotasjon trekkes steiner, sand og små partikler ut av slammet.

Det gjøres slik at vi kan gjenbruke slammet. Det er viktig å fjerne alt det faste materialet for å få slammet tilbake til den tilstanden vi ønsker at det skal ha for boreoperasjonen. Til slutt ender slammet tilbake i tanken det kom fra.

Pumpesystemet

Man ser gjerne på pumpesystemet som hjertet i sirkulasjonssystemet. Om pumpene slutter å jobbe, er det svært lite som kan gjøres i borehullet. Pumpesystemet krever mye vedlikehold, både under operasjon og når det er små pauser i operasjonene. Når en pumpe skal vedlikeholdes, kobler vi inn en annen pumpe i brønnsirkulasjonen. Det er alltid flere pumper tilgjengelig til å sirkulere borevæsken i brønnen.

Pumpesystemet består vanligvis av tre eller flere triplex mudpumper. For at mudpumpen skal få slammet inn fra active pit til pumpen, trengs det en fødepumpe som heter supercharge pump. Supercharge-pumpen, som er en sentrifugalpumpe, leverer slam fra tanken til linjene inn mot stempelpumpen, slik at ikke stemplene i triplexpumpen slår \\\\"tørt\\\\".

Triplexpumpe

Triplexpumpen er en stempelpumpe med tre stempler som kan være dobbelt- eller enkeltvirkende. Stemplene drives fram og tilbake i sylinderen ved hjelp av pumpemotoren. Bevegelsen til stempelet bidrar til å trekke inn væske fra sugesiden og skyve væsken ut igjen på leveringssiden. Dersom pumpen er dobbeltvirkende, skjer denne suge- og leveringsaktiviteten både når stempelet går framover og bakover i sylinderen.

Sylinderdimensjonen (linersize) og lengden på slaget (stroke) bestemmer hvor mye væske som leveres per slag. Det er vanlig med en 7\\\\" sylinder og opp mot 14\\\\" slaglengde, men det finnes større og mindre typer. Detaljer om leveringsmengde og trykk finnes blant annet i Drilling Data Handbook (DDH).

Fordelen med stempelpumpen er at den kan levere svært høye trykk, store volum og er effektiv selv om væsken har høy viskositet.

Virkemåte

Fra active pit åpnes en ventil til rørsystemet som leder slammet til fødepumpen (supercharge). Fødepumpen pumper slammet inn til mudpumpen, slik at stemplene i mudpumpen kan pumpe slammet videre rundt i sirkulasjonssystemet.

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Sirkulasjonssystemet

","language":"nb"},"conceptType":"concept"},"visualElement":{"resource":"image","embedData":{"resource":"image","resourceId":"4633","alt":"Bildet viser beige borevæske som blandes i en tank. Foto.","size":"full","align":"","url":"https://api.test.ndla.no/image-api/v2/images/4633","pageUrl":"/image/4633"},"status":"success","data":{"id":"4633","metaUrl":"https://api.test.ndla.no/image-api/v3/images/4633","title":{"title":"Bentonitt slam","language":"und"},"alttext":{"alttext":"Bentonitt slurry. Foto.","language":"und"},"copyright":{"license":{"license":"CC-BY-SA-4.0","description":"Creative Commons Attribution-ShareAlike 4.0 International","url":"https://creativecommons.org/licenses/by-sa/4.0/"},"origin":"https://commons.wikimedia.org/wiki/File:Creating_a_bentonite_slurry_for_fining_after_wine_pressing.jpg","creators":[{"type":"photographer","name":"Robert Pitkin"}],"processors":[],"rightsholders":[],"processed":false},"tags":{"tags":["miksing","slam","slurry"],"language":"nb"},"caption":{"caption":"","language":"nb"},"supportedLanguages":["nb","nn","en","und"],"created":"2018-08-21T15:03:17.000Z","createdBy":"r0gHb9Xg3li4yyXv0QSGQczV3bviakrT","modelRelease":"not-set","image":{"fileName":"bentonitt_slam.jpg","size":37580,"contentType":"image/jpeg","imageUrl":"https://images.test.ndla.no/bentonitt_slam.jpg","dimensions":{"width":640,"height":480},"variants":[{"size":"icon","variantUrl":"https://images.test.ndla.no/bentonitt_slam/icon.webp"},{"size":"xsmall","variantUrl":"https://images.test.ndla.no/bentonitt_slam/xsmall.webp"}],"language":"nb"},"inactive":false}}}}\\\">Slammet pumpes fra tanken (active pit) opp til boredekk. Der går væsken gjennom et rør i top drive og videre innvendig ned gjennom borestrengen og ut av dysene i borekronen. Etter at slammet har kommet ut av borekronen, begynner det på returen tilbake til tanken.

Sammen med returstrømmen løftes ","language":"nb"},"conceptType":"concept"},"visualElement":{"resource":"image","embedData":{"size":"fullbredde","align":"","caption":"Borekaks fra ulike typer bergarter. Her ser vi biter fra kalkstein, sandstein og skifer. Bitene vises forstørret under mikroskop.","alt":"Bildet viser biter av ulike bergarter som er boret ut fra et hull. Bitene vises forstørret under mikroskop. Vi ser kalkstein, sandstein og skifer. Foto.","resourceId":"55485","resource":"image","url":"https://api.test.ndla.no/image-api/v2/images/55485","pageUrl":"/image/55485"},"status":"success","data":{"id":"55485","metaUrl":"https://api.test.ndla.no/image-api/v3/images/55485","title":{"title":"Borekaks – kaks","language":"nb"},"alttext":{"alttext":"Bildet viser biter av ulike bergarter som er boret ut fra et hull. Bitene vises forstørret under mikroskop. Vi ser kalkstein, sandstein og skifer. Foto.","language":"nb"},"copyright":{"license":{"license":"CC-BY-SA-4.0","description":"Creative Commons Attribution-ShareAlike 4.0 International","url":"https://creativecommons.org/licenses/by-sa/4.0/"},"origin":"https://commons.wikimedia.org/w/index.php?curid=4167508","creators":[{"type":"photographer","name":"Mudgineer"}],"processors":[],"rightsholders":[],"processed":false},"tags":{"tags":["borekaks","cuttings","kaks"],"language":"nb"},"caption":{"caption":"Borekaks fra ulike typer bergarter. Her ser vi biter fra kalkstein, sandstein og skifer. Bitene vises forstørret under mikroskop.","language":"nb"},"supportedLanguages":["nb"],"created":"2021-02-15T13:18:25.000Z","createdBy":"KBAJskRqPXZUv9LFjAbz8btB","modelRelease":"not-set","image":{"fileName":"rce8gyMI.svg","size":2740407,"contentType":"image/svg+xml","imageUrl":"https://images.test.ndla.no/rce8gyMI.svg","variants":[],"language":"nb"},"inactive":false}}}}\\\">borekaksut fra brønnen. Returvæsken (slam med forurensninger) stiger oppover på utsiden av borestrengen og tilbake til overflaten.

På overflaten går slammet gjennom et anlegg som består av flere typer rensemaskiner. Slammet filtreres og renses for urenheter i en renseprosess i flere faser. Gjennom ulike metoder med filter og rotasjon trekkes steiner, sand og små partikler ut av slammet.

Det gjøres slik at vi kan gjenbruke slammet. Det er viktig å fjerne alt det faste materialet for å få slammet tilbake til den tilstanden vi ønsker at det skal ha for boreoperasjonen. Til slutt ender slammet tilbake i tanken det kom fra.

Pumpesystemet

Man ser gjerne på pumpesystemet som hjertet i sirkulasjonssystemet. Om pumpene slutter å jobbe, er det svært lite som kan gjøres i borehullet. Pumpesystemet krever mye vedlikehold, både under operasjon og når det er små pauser i operasjonene. Når en pumpe skal vedlikeholdes, kobler vi inn en annen pumpe i brønnsirkulasjonen. Det er alltid flere pumper tilgjengelig til å sirkulere borevæsken i brønnen.

Pumpesystemet består vanligvis av tre eller flere triplex mudpumper. For at mudpumpen skal få slammet inn fra active pit til pumpen, trengs det en fødepumpe som heter supercharge pump. Supercharge-pumpen, som er en sentrifugalpumpe, leverer slam fra tanken til linjene inn mot stempelpumpen, slik at ikke stemplene i triplexpumpen slår \\\"tørt\\\".

Triplexpumpe

Triplexpumpen er en stempelpumpe med tre stempler som kan være dobbelt- eller enkeltvirkende. Stemplene drives fram og tilbake i sylinderen ved hjelp av pumpemotoren. Bevegelsen til stempelet bidrar til å trekke inn væske fra sugesiden og skyve væsken ut igjen på leveringssiden. Dersom pumpen er dobbeltvirkende, skjer denne suge- og leveringsaktiviteten både når stempelet går framover og bakover i sylinderen.

Sylinderdimensjonen (linersize) og lengden på slaget (stroke) bestemmer hvor mye væske som leveres per slag. Det er vanlig med en 7\\\" sylinder og opp mot 14\\\" slaglengde, men det finnes større og mindre typer. Detaljer om leveringsmengde og trykk finnes blant annet i Drilling Data Handbook (DDH).

Fordelen med stempelpumpen er at den kan levere svært høye trykk, store volum og er effektiv selv om væsken har høy viskositet.

Virkemåte

Fra active pit åpnes en ventil til rørsystemet som leder slammet til fødepumpen (supercharge). Fødepumpen pumper slammet inn til mudpumpen, slik at stemplene i mudpumpen kan pumpe slammet videre rundt i sirkulasjonssystemet.

Slamsystemet

Rensesystemet skal fjerne borekaks som følger med opp fra hullet sammen med slammet, slik at renset slam kan føres tilbake til brønnen. Om slammet ikke har de riktige egenskapene i forhold til brønnen, kan det resultere i store skader på brønnen og boreutstyret. Etter renseprosessen blir slammet nøye kontrollert for å være sikker på at rensesystemet har gjort en tilfredsstillende jobb.

Rensesystemene bygges sammen av ulike komponenter etter det behovet man har. Det er ikke ønskelig å trekke for mye partikler ut av slammet fordi det betyr at slammet må tilsettes mer vektmateriale før det går tilbake til brønnen. Det er forskjell på hvordan rensesystemet ser ut og hvilket ekstrautstyr som brukes fra rigg til rigg.

Kaksbehandling

Det er svært strenge grenser for utslipp av boreslam på norsk sokkel. Det er viktig å ha fokus og være konsentrert når man holder på med sirkulasjon og behandling av slam. Det er imidlertid en forskjell om man borer med vannbasert eller oljebasert boreslam. Brukes vannbasert slam, er det tillatt å slippe borekakset tilbake i havet så lenge det ikke er hydrokarbonforurensning på kakset. Dette er ikke tillatt for borekaks som er forurenset av oljebasert slam. I tilfeller hvor det bores med oljebasert slam må man samle opp alt kakset og sende det til land for videre behandling.

En annen løsning som benyttes, er kaks-injeksjon. Kaks-injeksjon gjøres for å kvitte seg med oljeforurenset borekaks, samtidig som det bygger opp igjen styrken til et reservoar når det tømmes for olje eller gass. Da unngår man kollaps i formasjonen og det er lønnsomt og funksjonelt.


Kakset renses og behandles i flere steg før det injiseres tilbake til en injeksjonsbrønn. Det kreves en del ekstra utstyr om bord for å kunne gjøre denne operasjonen. Det har imidlertid vist seg at brønnene som brukes til kaks-injeksjon ikke alltid holder helt tett, hele 10 prosent av brønnene har fått påvist lekkasje til det ytre miljø.

Lagring av slam

Under boring av en brønn trenger man store mengder med boreslam. Det skal være nok slam til hele brønnen, alt overflateutstyret og noe i tankene. Det er også ønskelig å skifte ut deler eller hele mengden med slam underveis i borefasene når formasjonsegenskapene endrer seg.
I tillegg kommer volumet som riseren inneholder når brønnen er tilkoblet overflaten med BOP og riser. Dette krever at det finnes tilstrekkelig med lagringsplass for slam ombord på installasjonen.

På de fleste installasjoner finnes det et todelt væskelagringssystem; lager for baseslam og lager for ferdigblandet slam. Baseslam inneholder de grunnleggende kjemikaliene som er nødvendig uansett hvordan det ferdigblandete slammet skal være.

Det består av væsken (vann- eller oljebasert slam), vektmateriale (barytt) og bentonitt som øker viskositeten i væsken. Baseslammet brukes til å mikse det ferdigblandete slammet.

Baseslam fraktes med båter til feltet og blir pumpet over til installasjonen. Om bord i plattformen blir det lagret på store tanker som er plassert i skaftene eller i et egnet område (slam-modul) dersom plattformen ikke har skaft. Lagertankenes størrelse varierer, og de kan være så store at de har en samlet kapasitet på over 2500 m3 baseslam.

På flytende rigger er det normalt med 600 til 1800 m3 lagerkapasitet for slam. Flytende rigger har ofte to ulike lagersystemer, hovedlager for slam på dekk i nærheten av pumperommet, og reservelager i beina (skaftene) eller pontongene. I tillegg lagres tørrstoffene barytt og bentonitt i egne bulkstasjoner om bord.

Dersom boreslam blir stående i tankene for lenge uten bevegelse, vil barytten i slammet falle til bunns i tanken. Derfor er alle tankene om bord utstyrt med en eller flere agitatorer, avhengig av tankens størrelse.

To ulike metoder for å mikse slam ombord

Baseslam

Når man har behov for å lage ferdigblandet slam, pumpes baseslam gjennom rørlinjer fra tankene i skaftet og opp i mindre tanker som heter aktiv tank (active mud tank). Disse mindre tankene blir ofte omtalt som pit.

I slammet tilsettes vektmateriale, viskositetsøkende materiale, eller andre tilsetningsstoffer som er nødvendig etter behovet i brønnen. Dette skjer ved hjelp av en transferpump som pumper slammet fra den tanken man ønsker å blande i, gjennom rørlinjer, og tilbake til samme tank. Denne tanken ser man da på som en aktiv blandetank (mixing tank). På denne turen har slammet vært innom mikserommet og blitt tilsatt ønskede kjemikalier for å oppnå de egenskaper som er nødvendig for slammet.

Tørrstoff

Vektmateriale, viskositetsøkende materiale og tilsetningsstoffer kan tas ombord i pulverform. Det lagres i bulksystemet, sekker og big-bags . Når det skal blandes sammen, pumpes det til miksestasjonen der alt samles i et rørsystem som går til pit.

Slammet sirkuleres rundt i blandesløyfen, får tilsatt kjemikalier og testes inntil mudingeniør er fornøyd med slammets egenskaper. Når mudingeniøren er fornøyd, er slammet ferdigblandet og klart til å pumpes gjennom sirkulasjonssystemet ved hjelp av mudpumpene. Slammet oppbevares i pitten til det er klart for slambytte i brønnen.

Samtidig aktivitet

Samtidig som blanding av nytt slam foregår, kan aktivt slam sirkuleres gjennom brønnen og overflatesystemet til de andre aktive tankene. Når det nye slammet skal brukes, kobles aktiv pit ut og blandetanken kobles inn mot slampumpene som sirkulerer slammet til brønnen. Nå endrer blandetanken status til aktiv pit på systemet.

Tankene som er tilknyttet pumperommet er mindre enn lagertankene. Størrelsen på tankene kan variere fra 15 m3 til 80 m3. De store forskjellene kommer av hvor stort volum som er nødvendig av ulike slamblandinger. Tankene har navn som Active, Reserve, Chemical og Slug. Slugtank brukes når det skal mikses en liten mengde slam med spesielle egenskaper (kalles ofte en pille). I kjemikalietanken tilsettes kjemikalier som gir slammet spesielle egenskaper. Kjemikalietanken er et lukket system med avsug for sikker håndtering av kjemikaliene. Reservetanken inneholder ofte tungt slam (killmud ) som står klart i tilfelle man får et kick i brønnen.

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Renseprosessen går fra grov- til finutskilling for å redusere slitasje på utstyret om bord. Gass må også fjernes fra slammet fordi gassen endrer slammets gjennomsnittlige egenvekt.
Det er ikke tillatt å dumpe partikler som er forurenset med olje på sjøen, så alt som er forurenset må leveres på land for spesialbehandling.
Rensesystemet kan variere litt avhengig av hvilken borerigg man er på. Det er imidlertid noe utstyr som er standard på de fleste boreriggene.

Gumbo box

På noen installasjoner finnes det en Gumbo-boks.

Når vi borer gjennom en leireformasjon, brukes Gumbo-boksen til å skille ut store klumper med svelleleire fra slammet. Svelleleire kan plugge rørene i rensesystemet, og det er derfor viktig å samle opp leirklumpene til slammet har vasket klumpene mindre. Når klumpene er blitt små nok, og det ikke er fare for plugging av rørsystemene, faller leirbitene gjennom en rist i Gumbo-boksen og fortsetter videre til siktemaskinene som heter Shale shaker.

Shale shaker

Når slammet kommer tilbake til overflaten etter å ha vært i borehullet, vil renseprosessen starte med det samme. Slammet går i flowline i toppen av brønntilkoblingen (riser eller conductor). Ved utløpet er det en dumpetank (shakerbox), der grovutskilling av større biter borekaks (drillcuttings) skjer. Fra shakerboxen blir slammet fordelt over flere siktemaskiner (shale shaker).

De fleste siktemaskiner er utstyrt med to eller flere etasjer med filterduker laget i metalltråd (shakerscreen). Shakerscreen fungerer som en sil og er festet i en ramme som er koblet til en vibrerende enhet. Denne vibrerer filterplatene slik at faste partikler skilles ut fra slammet. Slammet renner gjennom duken til undersiden, mens kakset blir vibrert framover til det faller i en skrue eller sjakt som leder kakset bort fra slammet. Rammene med filterdukene kan vinkles (tilt) til motbakke, slik at prosessen med utskilling av kaks skjer kontrollert.

Hver etasje med screen har forskjellig størrelse (mesh) på filteret. Den øverste etasjen har de største åpningene. Dette for å kunne ta ut det groveste materialet først. Deretter vil åpningene bli mindre og mindre i forhold til hvor mange etasjer med screen hver shaker har. Dette vil være til hjelp for å ta ut veldig små partikler med borekaks av slammet. Filtrene må spyles og sjekkes regelmessig underveis i borefasene. Det er viktig at hull og slitasje oppdages tidlig, slik at ikke kaks får komme videre i systemet.

Det er vanskelig å se for seg hvor små partikler en shaker kan fjerne fra slammet. Med det blotte øye kan man tro at slammet er partikkelfritt etter å ha gått gjennom en shaker, men slammet inneholder fremdeles små partikler som kan skade rørsystemet og pumpene.

Sandtrap

Sandfellen er en tank som tar imot slammet som kommer fra shaker. I denne tanken går strømmen av slam over i sakte bevegelse, slik at de tyngste partiklene skal få mulighet til å synke ned i bunnen av tanken og bli liggende der. Det er innløp i én ende og utløp i den andre enden av tanken. Avstanden mellom innløp og utløp avgjør hvor lang tid slammet får på veien, og hvor mye partikler som kan falle ut av slammet.

Sandfellen må tømmes og rengjøres med jevne mellomrom for å gjøre en god jobb. Blir det for mye partikler som tar plass i tanken, vil det være mindre rom for slammet. Det vil øke gjennomstrømningshastigheten, og da virker ikke denne fasen av renseprosessen godt nok. Samtidig som denne prosessen skjer, vil slammet kontinuerlig renne videre i rensesystemet. Noen rigger har ikke sandfelle og bruker i stedet den første slamtanken som synketank ved behov.

Degasser

En degasser fjerner gass fra slammet. Under en boreoperasjon hender det at målere (sniffere) registrerer varierende mengder med gass i slammet.
Gass i slammet kan oppstå når vi stopper boreoperasjonen og slamsirkulasjonen for å koble inn ny lengde med borerør (koblingsstopp), eller når gass fra formasjonen følger formasjonsmaterialet og væsken til overflaten. Det er snakk om små mengder gass, og dette blir derfor ikke klassifisert som kick. Slammet sendes gjennom degasseren når det registreres gass i returslammet.

En degasser kan fungere på forskjellige måter. Det finnes ulike utforminger innvendig, alle med samme hensikt. I noen skapes undertrykk (vacuum) ved hjelp av utvendig sugepumpe eller innvendig sentrifugalkraft. Undertrykket tvinger gassen ut av væsken.

En annen måte er å la væsken strømme over flere nivåer med plater, slik at væskens overflate blir større (poor boy). Det gjør at gassen får kortere vei ut av væsken, og den frigjøres derfor fra væsken. En slik løsning er vanlig i en vertikal degasser. Ved begge metoder vil gassen stige opp og ledes ut over bord, og slammet renner ned i en sentrifugetank. Når returslammet ikke inneholder gass, ledes slammet utenom degasseren.

Det er veldig viktig å vaske degasseren etter bruk. Et vaskesystem startes, slik at degasseren spyles innvendig og slamrestene fjernes. Om ikke dette gjøres, vil slammet stivne og føre til at degasseren ikke starter når det er behov for den igjen.

Sentrifuge

Sentrifugen tar ut de minste partiklene (mindre enn 2 micron) fra slammet. Den kan brukes til å redusere egenvekten på slammet, dersom det er ønskelig, fordi den har muligheten til å fjerne disse små partiklene. Sentrifugen er tilknyttet en sentrifugetank. Det er vanligvis to sentrifugetanker og to sentrifuger, fordi én ikke klarer å fjerne alle partiklene alene. Om det skal kjøres én eller to sentrifuger, avgjøres av mudingeniør som analyserer slammet jevnlig.

Fra degasseren går slammet over i sentrifugetanken. Sentrifugen suger slam fra tanken, sentrifugerer ut partiklene som ledes bort fra slammet og sender slammet videre. Dersom det er behov for to sentrifuger til å behandle slammet, går slammet videre til neste sentrifugetank og sentrifuge før det går videre.

Inni sentrifugen er det en roterende del (hus) som roterer med høy hastighet (opp mot 4000 rpm). Slammet blir slynget ut til siden med en slik hastighet at veldig små partikler blir frigjort. Slammet renner videre til neste tank, mens partiklene legger seg i en skrue som frakter disse ut av sentrifugen.

Sentrifugen vil også fjerne vektmateriale (barytt), som er små partikler og en viktig del av slammet. Mudingeniør kontrollerer slammet og passer på å erstatte vektmaterial-tapet, slik at slammet holder riktig egenvekt i brønnen. Når slammet er ferdig behandlet i sentrifugen, renner det inn i den siste tanken som heter cleantank.

Sentrifugen har stort behov for vedlikehold. Derfor er det viktig å kjøre dette utstyret med rent vann for å rengjøre den. Om ikke dette gjøres, vil partiklene bygge seg opp på innsiden av sentrifugen, og det blir problemer med å operere sentrifugen.

Cleantank

Cleantank er en mellomtank hvor slammet oppholder seg i en liten periode før det renner tilbake i hovedtank (active pit) for å starte en ny runde via brønnen i sirkulasjonssystemet. Dersom systemet er utstyrt med desilter, går slammet fra cleantank til desilteren.

I noen tilfeller er cleantanken utformet slik at den kan fungere som rensetank for renhold av sentrifugen. Da fylles cleantanken med ferskvann som tilsettes sitronsyre. Dette pumpes inn i sentrifugen og tilbake til cleantanken gjentatte ganger. Det skal løse opp hardpakkede rester av slam som er i sentrifugen.

Desilter

Desilter finnes på enkelte installasjoner. Denne kan ta ut små partikler som kalles silt (2–60 micron). Den er lite brukt ettersom den ikke bare tar bort partikler; ved å bruke denne mister man mye boreslam også. Med tanke på nulltoleranse for utslipp og kostnader på boreslammet blir desilteren ofte valgt bort.

Desilter og desander fungerer som en syklon. Væsken pumpes inn i siden av syklonen og får en hastighetsøkning på grunn av syklonformen innvendig. I bunnen skilles tyngre partikler ut, og i toppen skilles lettere partikler ut.
En hydrosyklon desander har færre og større sykloner og kan fjerne partikkelstørrelser opp mot ca. 200 micron.

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Se animasjon av virkemåte for stempel pumpe.

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Renseprosessen går fra grov- til finutskilling for å redusere slitasje på utstyret om bord. Gass må også fjernes fra slammet fordi gassen endrer slammets gjennomsnittlige egenvekt.
Det er ikke tillatt å dumpe partikler som er forurenset med olje på sjøen, så alt som er forurenset må leveres på land for spesialbehandling.
Rensesystemet kan variere litt avhengig av hvilken borerigg man er på. Det er imidlertid noe utstyr som er standard på de fleste boreriggene.

Gumbo box

På noen installasjoner finnes det en Gumbo-boks.

Når vi borer gjennom en leireformasjon, brukes Gumbo-boksen til å skille ut store klumper med svelleleire fra slammet. Svelleleire kan plugge rørene i rensesystemet, og det er derfor viktig å samle opp leirklumpene til slammet har vasket klumpene mindre. Når klumpene er blitt små nok, og det ikke er fare for plugging av rørsystemene, faller leirbitene gjennom en rist i Gumbo-boksen og fortsetter videre til siktemaskinene som heter Shale shaker.

Shale shaker

Når slammet kommer tilbake til overflaten etter å ha vært i borehullet, vil renseprosessen starte med det samme. Slammet går i flowline i toppen av brønntilkoblingen (riser eller conductor). Ved utløpet er det en dumpetank (shakerbox), der grovutskilling av større biter borekaks (drillcuttings) skjer. Fra shakerboxen blir slammet fordelt over flere siktemaskiner (shale shaker).

De fleste siktemaskiner er utstyrt med to eller flere etasjer med filterduker laget i metalltråd (shakerscreen). Shakerscreen fungerer som en sil og er festet i en ramme som er koblet til en vibrerende enhet. Denne vibrerer filterplatene slik at faste partikler skilles ut fra slammet. Slammet renner gjennom duken til undersiden, mens kakset blir vibrert framover til det faller i en skrue eller sjakt som leder kakset bort fra slammet. Rammene med filterdukene kan vinkles (tilt) til motbakke, slik at prosessen med utskilling av kaks skjer kontrollert.

Hver etasje med screen har forskjellig størrelse (mesh) på filteret. Den øverste etasjen har de største åpningene. Dette for å kunne ta ut det groveste materialet først. Deretter vil åpningene bli mindre og mindre i forhold til hvor mange etasjer med screen hver shaker har. Dette vil være til hjelp for å ta ut veldig små partikler med borekaks av slammet. Filtrene må spyles og sjekkes regelmessig underveis i borefasene. Det er viktig at hull og slitasje oppdages tidlig, slik at ikke kaks får komme videre i systemet.

Det er vanskelig å se for seg hvor små partikler en shaker kan fjerne fra slammet. Med det blotte øye kan man tro at slammet er partikkelfritt etter å ha gått gjennom en shaker, men slammet inneholder fremdeles små partikler som kan skade rørsystemet og pumpene.

Sandtrap

Sandfellen er en tank som tar imot slammet som kommer fra shaker. I denne tanken går strømmen av slam over i sakte bevegelse, slik at de tyngste partiklene skal få mulighet til å synke ned i bunnen av tanken og bli liggende der. Det er innløp i én ende og utløp i den andre enden av tanken. Avstanden mellom innløp og utløp avgjør hvor lang tid slammet får på veien, og hvor mye partikler som kan falle ut av slammet.

Sandfellen må tømmes og rengjøres med jevne mellomrom for å gjøre en god jobb. Blir det for mye partikler som tar plass i tanken, vil det være mindre rom for slammet. Det vil øke gjennomstrømningshastigheten, og da virker ikke denne fasen av renseprosessen godt nok. Samtidig som denne prosessen skjer, vil slammet kontinuerlig renne videre i rensesystemet. Noen rigger har ikke sandfelle og bruker i stedet den første slamtanken som synketank ved behov.

Degasser

En degasser fjerner gass fra slammet. Under en boreoperasjon hender det at målere (sniffere) registrerer varierende mengder med gass i slammet.
Gass i slammet kan oppstå når vi stopper boreoperasjonen og slamsirkulasjonen for å koble inn ny lengde med borerør (koblingsstopp), eller når gass fra formasjonen følger formasjonsmaterialet og væsken til overflaten. Det er snakk om små mengder gass, og dette blir derfor ikke klassifisert som kick. Slammet sendes gjennom degasseren når det registreres gass i returslammet.

En degasser kan fungere på forskjellige måter. Det finnes ulike utforminger innvendig, alle med samme hensikt. I noen skapes undertrykk (vacuum) ved hjelp av utvendig sugepumpe eller innvendig sentrifugalkraft. Undertrykket tvinger gassen ut av væsken.

En annen måte er å la væsken strømme over flere nivåer med plater, slik at væskens overflate blir større (poor boy). Det gjør at gassen får kortere vei ut av væsken, og den frigjøres derfor fra væsken. En slik løsning er vanlig i en vertikal degasser. Ved begge metoder vil gassen stige opp og ledes ut over bord, og slammet renner ned i en sentrifugetank. Når returslammet ikke inneholder gass, ledes slammet utenom degasseren.

Det er veldig viktig å vaske degasseren etter bruk. Et vaskesystem startes, slik at degasseren spyles innvendig og slamrestene fjernes. Om ikke dette gjøres, vil slammet stivne og føre til at degasseren ikke starter når det er behov for den igjen.

Sentrifuge

Sentrifugen tar ut de minste partiklene (mindre enn 2 micron) fra slammet. Den kan brukes til å redusere egenvekten på slammet, dersom det er ønskelig, fordi den har muligheten til å fjerne disse små partiklene. Sentrifugen er tilknyttet en sentrifugetank. Det er vanligvis to sentrifugetanker og to sentrifuger, fordi én ikke klarer å fjerne alle partiklene alene. Om det skal kjøres én eller to sentrifuger, avgjøres av mudingeniør som analyserer slammet jevnlig.

Fra degasseren går slammet over i sentrifugetanken. Sentrifugen suger slam fra tanken, sentrifugerer ut partiklene som ledes bort fra slammet og sender slammet videre. Dersom det er behov for to sentrifuger til å behandle slammet, går slammet videre til neste sentrifugetank og sentrifuge før det går videre.

Inni sentrifugen er det en roterende del (hus) som roterer med høy hastighet (opp mot 4000 rpm). Slammet blir slynget ut til siden med en slik hastighet at veldig små partikler blir frigjort. Slammet renner videre til neste tank, mens partiklene legger seg i en skrue som frakter disse ut av sentrifugen.

Sentrifugen vil også fjerne vektmateriale (barytt), som er små partikler og en viktig del av slammet. Mudingeniør kontrollerer slammet og passer på å erstatte vektmaterial-tapet, slik at slammet holder riktig egenvekt i brønnen. Når slammet er ferdig behandlet i sentrifugen, renner det inn i den siste tanken som heter cleantank.

Sentrifugen har stort behov for vedlikehold. Derfor er det viktig å kjøre dette utstyret med rent vann for å rengjøre den. Om ikke dette gjøres, vil partiklene bygge seg opp på innsiden av sentrifugen, og det blir problemer med å operere sentrifugen.

Cleantank

Cleantank er en mellomtank hvor slammet oppholder seg i en liten periode før det renner tilbake i hovedtank (active pit) for å starte en ny runde via brønnen i sirkulasjonssystemet. Dersom systemet er utstyrt med desilter, går slammet fra cleantank til desilteren.

I noen tilfeller er cleantanken utformet slik at den kan fungere som rensetank for renhold av sentrifugen. Da fylles cleantanken med ferskvann som tilsettes sitronsyre. Dette pumpes inn i sentrifugen og tilbake til cleantanken gjentatte ganger. Det skal løse opp hardpakkede rester av slam som er i sentrifugen.

Desilter

Desilter finnes på enkelte installasjoner. Denne kan ta ut små partikler som kalles silt (2–60 micron). Den er lite brukt ettersom den ikke bare tar bort partikler; ved å bruke denne mister man mye boreslam også. Med tanke på nulltoleranse for utslipp og kostnader på boreslammet blir desilteren ofte valgt bort.

Desilter og desander fungerer som en syklon. Væsken pumpes inn i siden av syklonen og får en hastighetsøkning på grunn av syklonformen innvendig. I bunnen skilles tyngre partikler ut, og i toppen skilles lettere partikler ut.
En hydrosyklon desander har færre og større sykloner og kan fjerne partikkelstørrelser opp mot ca. 200 micron.

Sirkulasjonssystemet

Slammet pumpes fra tanken (active pit) opp til boredekk. Der går væsken gjennom et rør i top drive og videre innvendig ned gjennom borestrengen og ut av dysene i borekronen. Etter at slammet har kommet ut av borekronen, begynner det på returen tilbake til tanken.

Sammen med returstrømmen løftes borekaksut fra brønnen. Returvæsken (slam med forurensninger) stiger oppover på utsiden av borestrengen og tilbake til overflaten.

På overflaten går slammet gjennom et anlegg som består av flere typer rensemaskiner. Slammet filtreres og renses for urenheter i en renseprosess i flere faser. Gjennom ulike metoder med filter og rotasjon trekkes steiner, sand og små partikler ut av slammet.

Det gjøres slik at vi kan gjenbruke slammet. Det er viktig å fjerne alt det faste materialet for å få slammet tilbake til den tilstanden vi ønsker at det skal ha for boreoperasjonen. Til slutt ender slammet tilbake i tanken det kom fra.

Pumpesystemet

Man ser gjerne på pumpesystemet som hjertet i sirkulasjonssystemet. Om pumpene slutter å jobbe, er det svært lite som kan gjøres i borehullet. Pumpesystemet krever mye vedlikehold, både under operasjon og når det er små pauser i operasjonene. Når en pumpe skal vedlikeholdes, kobler vi inn en annen pumpe i brønnsirkulasjonen. Det er alltid flere pumper tilgjengelig til å sirkulere borevæsken i brønnen.

Pumpesystemet består vanligvis av tre eller flere triplex mudpumper. For at mudpumpen skal få slammet inn fra active pit til pumpen, trengs det en fødepumpe som heter supercharge pump. Supercharge-pumpen, som er en sentrifugalpumpe, leverer slam fra tanken til linjene inn mot stempelpumpen, slik at ikke stemplene i triplexpumpen slår \\\\"tørt\\\\".

Triplexpumpe

Triplexpumpen er en stempelpumpe med tre stempler som kan være dobbelt- eller enkeltvirkende. Stemplene drives fram og tilbake i sylinderen ved hjelp av pumpemotoren. Bevegelsen til stempelet bidrar til å trekke inn væske fra sugesiden og skyve væsken ut igjen på leveringssiden. Dersom pumpen er dobbeltvirkende, skjer denne suge- og leveringsaktiviteten både når stempelet går framover og bakover i sylinderen.

Sylinderdimensjonen (linersize) og lengden på slaget (stroke) bestemmer hvor mye væske som leveres per slag. Det er vanlig med en 7\\\\" sylinder og opp mot 14\\\\" slaglengde, men det finnes større og mindre typer. Detaljer om leveringsmengde og trykk finnes blant annet i Drilling Data Handbook (DDH).

Fordelen med stempelpumpen er at den kan levere svært høye trykk, store volum og er effektiv selv om væsken har høy viskositet.

Virkemåte

Fra active pit åpnes en ventil til rørsystemet som leder slammet til fødepumpen (supercharge). Fødepumpen pumper slammet inn til mudpumpen, slik at stemplene i mudpumpen kan pumpe slammet videre rundt i sirkulasjonssystemet.

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Det er fordi hele prosessen handler om å fjerne partikler av ulik størrelse fra slammet.\",\"htmlTitle\":\"Rensesystem for slam\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/354\",\"traits\":[],\"revision\":24,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"__typename\":\"LearningpathStep\",\"showTitle\":false,\"copyright\":null,\"seqNo\":5},{\"id\":73,\"title\":\"Fordypning: Shale shaker\",\"introduction\":null,\"description\":null,\"opengraph\":null,\"resource\":{\"id\":\"urn:resource:1:187477\",\"nodeType\":\"RESOURCE\",\"url\":\"/r/boring-tp-brt-vg2---beta/fordypning-shale-shaker/55e151f80a\",\"relevanceId\":\"urn:relevance:core\",\"resourceTypes\":[{\"id\":\"urn:resourcetype:subjectMaterial\",\"name\":\"Fagstoff\",\"__typename\":\"ResourceType\"}],\"article\":{\"id\":358,\"metaDescription\":\"Engelsk ekstern ressurs fra Wikipedia med fordypningsdetaljer om shale shaker.\",\"created\":\"2018-04-13T10:09:27.000Z\",\"updated\":\"2020-06-05T08:13:00.000Z\",\"articleType\":\"standard\",\"requiredLibraries\":[],\"title\":\"Fordypning: Shale shaker\",\"published\":\"2018-04-13T10:09:27.000Z\",\"supportedLanguages\":[\"nb\"],\"copyright\":{\"license\":{\"url\":\"https://creativecommons.org/licenses/by-sa/4.0/\",\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"},\"creators\":[],\"processors\":[{\"name\":\"Haldor Hove\",\"type\":\"editorial\",\"__typename\":\"Contributor\"}],\"rightsholders\":[],\"processed\":false,\"__typename\":\"Copyright\",\"origin\":\"\"},\"metaImage\":null,\"competenceGoals\":[],\"coreElements\":[],\"transformedContent\":{\"metaData\":{\"images\":[],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Engelsk ekstern ressurs fra Wikipedia med fordypningsdetaljer om shale shaker

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Slamrensing

Det er høye krav til kvalitet på behandling av returslam ettersom slammet skal tilbakeføres i brønnen i en sirkulasjonssløyfe. Om bord i riggen er det masse utstyr som skiller ut partikler av ulike størrelser fra slammet. Tradisjonelt har utstyret bestått av grovsikt (shaker), finsikt (desander og desilter) og syklonseparator.

Utstyret som har vært i bruk siden 1930-tallet, har sine svakheter, blant annet mye støy, vibrasjoner og avgasser og oljedamp som forurenser arbeidsmiljøet. I tillegg er det en stor kostnad knyttet til spesialbehandling av partiklene fordi det er slam på partiklene som skilles ut.

Det er svært plasskrevende med alt utstyret som behøves, og det er en stor vektbelastning på flytende rigger. I tillegg krever shakeren ekstra bjelkelag med sjokkputer for å ta opp vibrasjonene den skaper i sikteprosessen.

Utvikling av ny teknologi

MudCube ble utviklet som et teknisk tiltak for å redusere belastningene på personell som jobbet med slambehandlingen. Målet var å forbedre arbeidsmiljøet for de mange arbeiderne som fikk store problemer med opphold i shaker-rommet på grunn av støy, vibrasjoner og avgasser fra borevæskene. I 2005 kom det et gjennombrudd i teknologiutviklingen.

I utviklingen og uttestingen har MudCube vist at den har oppnådd bedre arbeidsmiljø for dem som jobber i slambehandlingen, lavere slamvedheng på partiklene, godkjent rensing av slam i en enhet og inntjening av investering i løpet av fem–seks brønner.

"}}}\\\">

MudCube

MudCube skiller grove og fine partikler ut av slammet, på samme måte som shakeren, desilteren og desanderen til sammen. Slammet føres tilbake til active pit, mens borekaks føres til landmottak for behandling og avfallsdeponering.

Hvordan virker MudCube?

MudCube er et lukket system med et roterende bånd som fungerer på samme måte som en tredemølle. Båndet er en åpen rist og drives på en aksling som roterer ved hjelp av en elektromotor.

På båndet legges et stort filter som festes med borrelås. Returslam fra brønnen føres inn i boksen i bak-kant, og mens filteret roterer framover, skilles væsken ut gjennom filteråpningene og ledes tilbake til active pit. I huset trekkes luft ut ved hjelp av en «undertrykkspumpe», og drar slamrester av partiklene før disse faller ned i oppsamlerrennen.

Utskilling av partiklene gjøres ved hjelp av tyngdekraft i motsetning til når man bruker shakeren som rister partiklene fra væsken. I forkant av filterbåndet faller partiklene ned i oppsamlerrennen. Undertrykk i boksen bidrar til at slamdråper som normalt ville blitt igjen på partiklene, trekkes av og føres tilbake til tanken. Det gjør at tapet av slam i renseprosessen er betydelig redusert. Undertrykket gjør også at avgasser fra slamdampen føres bort fra boksen og ut på siden av riggen. På en aksling på innsiden av båndet står det luft- og vanndyser som brukes for å fjerne fine sandpartikler og leire som fester seg i filteret.

Drift og vedlikehold

Ettersom MudCube er et lukket system, er det installert kameraovervåkning i enheten. Roughnecken som tidligere måtte overvåke filtrene i shaker-rommet, kan overvåke hele driften på skjermer i et kontormiljø eller i drillerbua. Det er enkelt å skifte filterduken, som rulles på båndet og festes med borrelås.

Duken skiftes etter 100–200 driftstimer eller dersom maskevidden skal endres. Det er vanlig at mud-ingeniøren kommer med innspill om hvilken filteråpning som passer best ut fra formasjonen det bores i.

Selskapene som bruker MudCube, rapporterer at de får bedre ROP under boring fordi slammet holder en meget høy kvalitet etter rensing med MudCube. MudCube har vist seg å være svært driftssikker og har i oppstarten hatt over 80 000 driftstimer uten nedetid.

Cubility har installert 20 MudCubes på 10 rigger per mai 2016.

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I denne læringsstien skal vi se nærmere på prosessen for miksing av slam og sirkulasjonssløyfen slammet går gjennom, og utstyret som brukes.

 

 

 

Når du har gjennomført denne læringsstien, kan du

 

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Slamsystemet

Rensesystemet skal fjerne borekaks som følger med opp fra hullet sammen med slammet, slik at renset slam kan føres tilbake til brønnen. Om slammet ikke har de riktige egenskapene i forhold til brønnen, kan det resultere i store skader på brønnen og boreutstyret. Etter renseprosessen blir slammet nøye kontrollert for å være sikker på at rensesystemet har gjort en tilfredsstillende jobb.

Rensesystemene bygges sammen av ulike komponenter etter det behovet man har. Det er ikke ønskelig å trekke for mye partikler ut av slammet fordi det betyr at slammet må tilsettes mer vektmateriale før det går tilbake til brønnen. Det er forskjell på hvordan rensesystemet ser ut og hvilket ekstrautstyr som brukes fra rigg til rigg.

Kaksbehandling

Det er svært strenge grenser for utslipp av boreslam på norsk sokkel. Det er viktig å ha fokus og være konsentrert når man holder på med sirkulasjon og behandling av slam. Det er imidlertid en forskjell om man borer med vannbasert eller oljebasert boreslam. Brukes vannbasert slam, er det tillatt å slippe borekakset tilbake i havet så lenge det ikke er hydrokarbonforurensning på kakset. Dette er ikke tillatt for borekaks som er forurenset av oljebasert slam. I tilfeller hvor det bores med oljebasert slam må man samle opp alt kakset og sende det til land for videre behandling.

En annen løsning som benyttes, er kaks-injeksjon. Kaks-injeksjon gjøres for å kvitte seg med oljeforurenset borekaks, samtidig som det bygger opp igjen styrken til et reservoar når det tømmes for olje eller gass. Da unngår man kollaps i formasjonen og det er lønnsomt og funksjonelt.


Kakset renses og behandles i flere steg før det injiseres tilbake til en injeksjonsbrønn. Det kreves en del ekstra utstyr om bord for å kunne gjøre denne operasjonen. Det har imidlertid vist seg at brønnene som brukes til kaks-injeksjon ikke alltid holder helt tett, hele 10 prosent av brønnene har fått påvist lekkasje til det ytre miljø.

Lagring av slam

Under boring av en brønn trenger man store mengder med boreslam. Det skal være nok slam til hele brønnen, alt overflateutstyret og noe i tankene. Det er også ønskelig å skifte ut deler eller hele mengden med slam underveis i borefasene når formasjonsegenskapene endrer seg.
I tillegg kommer volumet som riseren inneholder når brønnen er tilkoblet overflaten med BOP og riser. Dette krever at det finnes tilstrekkelig med lagringsplass for slam ombord på installasjonen.

På de fleste installasjoner finnes det et todelt væskelagringssystem; lager for baseslam og lager for ferdigblandet slam. Baseslam inneholder de grunnleggende kjemikaliene som er nødvendig uansett hvordan det ferdigblandete slammet skal være.

Det består av væsken (vann- eller oljebasert slam), vektmateriale (barytt) og bentonitt som øker viskositeten i væsken. Baseslammet brukes til å mikse det ferdigblandete slammet.

Baseslam fraktes med båter til feltet og blir pumpet over til installasjonen. Om bord i plattformen blir det lagret på store tanker som er plassert i skaftene eller i et egnet område (slam-modul) dersom plattformen ikke har skaft. Lagertankenes størrelse varierer, og de kan være så store at de har en samlet kapasitet på over 2500 m3 baseslam.

På flytende rigger er det normalt med 600 til 1800 m3 lagerkapasitet for slam. Flytende rigger har ofte to ulike lagersystemer, hovedlager for slam på dekk i nærheten av pumperommet, og reservelager i beina (skaftene) eller pontongene. I tillegg lagres tørrstoffene barytt og bentonitt i egne bulkstasjoner om bord.

Dersom boreslam blir stående i tankene for lenge uten bevegelse, vil barytten i slammet falle til bunns i tanken. Derfor er alle tankene om bord utstyrt med en eller flere agitatorer, avhengig av tankens størrelse.

To ulike metoder for å mikse slam ombord

Baseslam

Når man har behov for å lage ferdigblandet slam, pumpes baseslam gjennom rørlinjer fra tankene i skaftet og opp i mindre tanker som heter aktiv tank (active mud tank). Disse mindre tankene blir ofte omtalt som pit.

I slammet tilsettes vektmateriale, viskositetsøkende materiale, eller andre tilsetningsstoffer som er nødvendig etter behovet i brønnen. Dette skjer ved hjelp av en transferpump som pumper slammet fra den tanken man ønsker å blande i, gjennom rørlinjer, og tilbake til samme tank. Denne tanken ser man da på som en aktiv blandetank (mixing tank). På denne turen har slammet vært innom mikserommet og blitt tilsatt ønskede kjemikalier for å oppnå de egenskaper som er nødvendig for slammet.

Tørrstoff

Vektmateriale, viskositetsøkende materiale og tilsetningsstoffer kan tas ombord i pulverform. Det lagres i bulksystemet, sekker og big-bags . Når det skal blandes sammen, pumpes det til miksestasjonen der alt samles i et rørsystem som går til pit.

Slammet sirkuleres rundt i blandesløyfen, får tilsatt kjemikalier og testes inntil mudingeniør er fornøyd med slammets egenskaper. Når mudingeniøren er fornøyd, er slammet ferdigblandet og klart til å pumpes gjennom sirkulasjonssystemet ved hjelp av mudpumpene. Slammet oppbevares i pitten til det er klart for slambytte i brønnen.

Samtidig aktivitet

Samtidig som blanding av nytt slam foregår, kan aktivt slam sirkuleres gjennom brønnen og overflatesystemet til de andre aktive tankene. Når det nye slammet skal brukes, kobles aktiv pit ut og blandetanken kobles inn mot slampumpene som sirkulerer slammet til brønnen. Nå endrer blandetanken status til aktiv pit på systemet.

Tankene som er tilknyttet pumperommet er mindre enn lagertankene. Størrelsen på tankene kan variere fra 15 m3 til 80 m3. De store forskjellene kommer av hvor stort volum som er nødvendig av ulike slamblandinger. Tankene har navn som Active, Reserve, Chemical og Slug. Slugtank brukes når det skal mikses en liten mengde slam med spesielle egenskaper (kalles ofte en pille). I kjemikalietanken tilsettes kjemikalier som gir slammet spesielle egenskaper. Kjemikalietanken er et lukket system med avsug for sikker håndtering av kjemikaliene. Reservetanken inneholder ofte tungt slam (killmud ) som står klart i tilfelle man får et kick i brønnen.

Sirkulasjonssystemet

Slammet pumpes fra tanken (active pit) opp til boredekk. Der går væsken gjennom et rør i top drive og videre innvendig ned gjennom borestrengen og ut av dysene i borekronen. Etter at slammet har kommet ut av borekronen, begynner det på returen tilbake til tanken.

Sammen med returstrømmen løftes borekaksut fra brønnen. Returvæsken (slam med forurensninger) stiger oppover på utsiden av borestrengen og tilbake til overflaten.

På overflaten går slammet gjennom et anlegg som består av flere typer rensemaskiner. Slammet filtreres og renses for urenheter i en renseprosess i flere faser. Gjennom ulike metoder med filter og rotasjon trekkes steiner, sand og små partikler ut av slammet.

Det gjøres slik at vi kan gjenbruke slammet. Det er viktig å fjerne alt det faste materialet for å få slammet tilbake til den tilstanden vi ønsker at det skal ha for boreoperasjonen. Til slutt ender slammet tilbake i tanken det kom fra.

Pumpesystemet

Man ser gjerne på pumpesystemet som hjertet i sirkulasjonssystemet. Om pumpene slutter å jobbe, er det svært lite som kan gjøres i borehullet. Pumpesystemet krever mye vedlikehold, både under operasjon og når det er små pauser i operasjonene. Når en pumpe skal vedlikeholdes, kobler vi inn en annen pumpe i brønnsirkulasjonen. Det er alltid flere pumper tilgjengelig til å sirkulere borevæsken i brønnen.

Pumpesystemet består vanligvis av tre eller flere triplex mudpumper. For at mudpumpen skal få slammet inn fra active pit til pumpen, trengs det en fødepumpe som heter supercharge pump. Supercharge-pumpen, som er en sentrifugalpumpe, leverer slam fra tanken til linjene inn mot stempelpumpen, slik at ikke stemplene i triplexpumpen slår \\\\"tørt\\\\".

Triplexpumpe

Triplexpumpen er en stempelpumpe med tre stempler som kan være dobbelt- eller enkeltvirkende. Stemplene drives fram og tilbake i sylinderen ved hjelp av pumpemotoren. Bevegelsen til stempelet bidrar til å trekke inn væske fra sugesiden og skyve væsken ut igjen på leveringssiden. Dersom pumpen er dobbeltvirkende, skjer denne suge- og leveringsaktiviteten både når stempelet går framover og bakover i sylinderen.

Sylinderdimensjonen (linersize) og lengden på slaget (stroke) bestemmer hvor mye væske som leveres per slag. Det er vanlig med en 7\\\\" sylinder og opp mot 14\\\\" slaglengde, men det finnes større og mindre typer. Detaljer om leveringsmengde og trykk finnes blant annet i Drilling Data Handbook (DDH).

Fordelen med stempelpumpen er at den kan levere svært høye trykk, store volum og er effektiv selv om væsken har høy viskositet.

Virkemåte

Fra active pit åpnes en ventil til rørsystemet som leder slammet til fødepumpen (supercharge). Fødepumpen pumper slammet inn til mudpumpen, slik at stemplene i mudpumpen kan pumpe slammet videre rundt i sirkulasjonssystemet.

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Sirkulasjonssystemet

","language":"nb"},"conceptType":"concept"},"visualElement":{"resource":"image","embedData":{"resource":"image","resourceId":"4633","alt":"Bildet viser beige borevæske som blandes i en tank. Foto.","size":"full","align":"","url":"https://api.test.ndla.no/image-api/v2/images/4633","pageUrl":"/image/4633"},"status":"success","data":{"id":"4633","metaUrl":"https://api.test.ndla.no/image-api/v3/images/4633","title":{"title":"Bentonitt slam","language":"und"},"alttext":{"alttext":"Bentonitt slurry. Foto.","language":"und"},"copyright":{"license":{"license":"CC-BY-SA-4.0","description":"Creative Commons Attribution-ShareAlike 4.0 International","url":"https://creativecommons.org/licenses/by-sa/4.0/"},"origin":"https://commons.wikimedia.org/wiki/File:Creating_a_bentonite_slurry_for_fining_after_wine_pressing.jpg","creators":[{"type":"photographer","name":"Robert Pitkin"}],"processors":[],"rightsholders":[],"processed":false},"tags":{"tags":["miksing","slam","slurry"],"language":"nb"},"caption":{"caption":"","language":"nb"},"supportedLanguages":["nb","nn","en","und"],"created":"2018-08-21T15:03:17.000Z","createdBy":"r0gHb9Xg3li4yyXv0QSGQczV3bviakrT","modelRelease":"not-set","image":{"fileName":"bentonitt_slam.jpg","size":37580,"contentType":"image/jpeg","imageUrl":"https://images.test.ndla.no/bentonitt_slam.jpg","dimensions":{"width":640,"height":480},"variants":[{"size":"icon","variantUrl":"https://images.test.ndla.no/bentonitt_slam/icon.webp"},{"size":"xsmall","variantUrl":"https://images.test.ndla.no/bentonitt_slam/xsmall.webp"}],"language":"nb"},"inactive":false}}}}\\\">Slammet pumpes fra tanken (active pit) opp til boredekk. Der går væsken gjennom et rør i top drive og videre innvendig ned gjennom borestrengen og ut av dysene i borekronen. Etter at slammet har kommet ut av borekronen, begynner det på returen tilbake til tanken.

Sammen med returstrømmen løftes ","language":"nb"},"conceptType":"concept"},"visualElement":{"resource":"image","embedData":{"size":"fullbredde","align":"","caption":"Borekaks fra ulike typer bergarter. Her ser vi biter fra kalkstein, sandstein og skifer. Bitene vises forstørret under mikroskop.","alt":"Bildet viser biter av ulike bergarter som er boret ut fra et hull. Bitene vises forstørret under mikroskop. Vi ser kalkstein, sandstein og skifer. Foto.","resourceId":"55485","resource":"image","url":"https://api.test.ndla.no/image-api/v2/images/55485","pageUrl":"/image/55485"},"status":"success","data":{"id":"55485","metaUrl":"https://api.test.ndla.no/image-api/v3/images/55485","title":{"title":"Borekaks – kaks","language":"nb"},"alttext":{"alttext":"Bildet viser biter av ulike bergarter som er boret ut fra et hull. Bitene vises forstørret under mikroskop. Vi ser kalkstein, sandstein og skifer. Foto.","language":"nb"},"copyright":{"license":{"license":"CC-BY-SA-4.0","description":"Creative Commons Attribution-ShareAlike 4.0 International","url":"https://creativecommons.org/licenses/by-sa/4.0/"},"origin":"https://commons.wikimedia.org/w/index.php?curid=4167508","creators":[{"type":"photographer","name":"Mudgineer"}],"processors":[],"rightsholders":[],"processed":false},"tags":{"tags":["borekaks","cuttings","kaks"],"language":"nb"},"caption":{"caption":"Borekaks fra ulike typer bergarter. Her ser vi biter fra kalkstein, sandstein og skifer. Bitene vises forstørret under mikroskop.","language":"nb"},"supportedLanguages":["nb"],"created":"2021-02-15T13:18:25.000Z","createdBy":"KBAJskRqPXZUv9LFjAbz8btB","modelRelease":"not-set","image":{"fileName":"rce8gyMI.svg","size":2740407,"contentType":"image/svg+xml","imageUrl":"https://images.test.ndla.no/rce8gyMI.svg","variants":[],"language":"nb"},"inactive":false}}}}\\\">borekaksut fra brønnen. Returvæsken (slam med forurensninger) stiger oppover på utsiden av borestrengen og tilbake til overflaten.

På overflaten går slammet gjennom et anlegg som består av flere typer rensemaskiner. Slammet filtreres og renses for urenheter i en renseprosess i flere faser. Gjennom ulike metoder med filter og rotasjon trekkes steiner, sand og små partikler ut av slammet.

Det gjøres slik at vi kan gjenbruke slammet. Det er viktig å fjerne alt det faste materialet for å få slammet tilbake til den tilstanden vi ønsker at det skal ha for boreoperasjonen. Til slutt ender slammet tilbake i tanken det kom fra.

Pumpesystemet

Man ser gjerne på pumpesystemet som hjertet i sirkulasjonssystemet. Om pumpene slutter å jobbe, er det svært lite som kan gjøres i borehullet. Pumpesystemet krever mye vedlikehold, både under operasjon og når det er små pauser i operasjonene. Når en pumpe skal vedlikeholdes, kobler vi inn en annen pumpe i brønnsirkulasjonen. Det er alltid flere pumper tilgjengelig til å sirkulere borevæsken i brønnen.

Pumpesystemet består vanligvis av tre eller flere triplex mudpumper. For at mudpumpen skal få slammet inn fra active pit til pumpen, trengs det en fødepumpe som heter supercharge pump. Supercharge-pumpen, som er en sentrifugalpumpe, leverer slam fra tanken til linjene inn mot stempelpumpen, slik at ikke stemplene i triplexpumpen slår \\\"tørt\\\".

Triplexpumpe

Triplexpumpen er en stempelpumpe med tre stempler som kan være dobbelt- eller enkeltvirkende. Stemplene drives fram og tilbake i sylinderen ved hjelp av pumpemotoren. Bevegelsen til stempelet bidrar til å trekke inn væske fra sugesiden og skyve væsken ut igjen på leveringssiden. Dersom pumpen er dobbeltvirkende, skjer denne suge- og leveringsaktiviteten både når stempelet går framover og bakover i sylinderen.

Sylinderdimensjonen (linersize) og lengden på slaget (stroke) bestemmer hvor mye væske som leveres per slag. Det er vanlig med en 7\\\" sylinder og opp mot 14\\\" slaglengde, men det finnes større og mindre typer. Detaljer om leveringsmengde og trykk finnes blant annet i Drilling Data Handbook (DDH).

Fordelen med stempelpumpen er at den kan levere svært høye trykk, store volum og er effektiv selv om væsken har høy viskositet.

Virkemåte

Fra active pit åpnes en ventil til rørsystemet som leder slammet til fødepumpen (supercharge). Fødepumpen pumper slammet inn til mudpumpen, slik at stemplene i mudpumpen kan pumpe slammet videre rundt i sirkulasjonssystemet.

Slamsystemet

Rensesystemet skal fjerne borekaks som følger med opp fra hullet sammen med slammet, slik at renset slam kan føres tilbake til brønnen. Om slammet ikke har de riktige egenskapene i forhold til brønnen, kan det resultere i store skader på brønnen og boreutstyret. Etter renseprosessen blir slammet nøye kontrollert for å være sikker på at rensesystemet har gjort en tilfredsstillende jobb.

Rensesystemene bygges sammen av ulike komponenter etter det behovet man har. Det er ikke ønskelig å trekke for mye partikler ut av slammet fordi det betyr at slammet må tilsettes mer vektmateriale før det går tilbake til brønnen. Det er forskjell på hvordan rensesystemet ser ut og hvilket ekstrautstyr som brukes fra rigg til rigg.

Kaksbehandling

Det er svært strenge grenser for utslipp av boreslam på norsk sokkel. Det er viktig å ha fokus og være konsentrert når man holder på med sirkulasjon og behandling av slam. Det er imidlertid en forskjell om man borer med vannbasert eller oljebasert boreslam. Brukes vannbasert slam, er det tillatt å slippe borekakset tilbake i havet så lenge det ikke er hydrokarbonforurensning på kakset. Dette er ikke tillatt for borekaks som er forurenset av oljebasert slam. I tilfeller hvor det bores med oljebasert slam må man samle opp alt kakset og sende det til land for videre behandling.

En annen løsning som benyttes, er kaks-injeksjon. Kaks-injeksjon gjøres for å kvitte seg med oljeforurenset borekaks, samtidig som det bygger opp igjen styrken til et reservoar når det tømmes for olje eller gass. Da unngår man kollaps i formasjonen og det er lønnsomt og funksjonelt.


Kakset renses og behandles i flere steg før det injiseres tilbake til en injeksjonsbrønn. Det kreves en del ekstra utstyr om bord for å kunne gjøre denne operasjonen. Det har imidlertid vist seg at brønnene som brukes til kaks-injeksjon ikke alltid holder helt tett, hele 10 prosent av brønnene har fått påvist lekkasje til det ytre miljø.

Lagring av slam

Under boring av en brønn trenger man store mengder med boreslam. Det skal være nok slam til hele brønnen, alt overflateutstyret og noe i tankene. Det er også ønskelig å skifte ut deler eller hele mengden med slam underveis i borefasene når formasjonsegenskapene endrer seg.
I tillegg kommer volumet som riseren inneholder når brønnen er tilkoblet overflaten med BOP og riser. Dette krever at det finnes tilstrekkelig med lagringsplass for slam ombord på installasjonen.

På de fleste installasjoner finnes det et todelt væskelagringssystem; lager for baseslam og lager for ferdigblandet slam. Baseslam inneholder de grunnleggende kjemikaliene som er nødvendig uansett hvordan det ferdigblandete slammet skal være.

Det består av væsken (vann- eller oljebasert slam), vektmateriale (barytt) og bentonitt som øker viskositeten i væsken. Baseslammet brukes til å mikse det ferdigblandete slammet.

Baseslam fraktes med båter til feltet og blir pumpet over til installasjonen. Om bord i plattformen blir det lagret på store tanker som er plassert i skaftene eller i et egnet område (slam-modul) dersom plattformen ikke har skaft. Lagertankenes størrelse varierer, og de kan være så store at de har en samlet kapasitet på over 2500 m3 baseslam.

På flytende rigger er det normalt med 600 til 1800 m3 lagerkapasitet for slam. Flytende rigger har ofte to ulike lagersystemer, hovedlager for slam på dekk i nærheten av pumperommet, og reservelager i beina (skaftene) eller pontongene. I tillegg lagres tørrstoffene barytt og bentonitt i egne bulkstasjoner om bord.

Dersom boreslam blir stående i tankene for lenge uten bevegelse, vil barytten i slammet falle til bunns i tanken. Derfor er alle tankene om bord utstyrt med en eller flere agitatorer, avhengig av tankens størrelse.

To ulike metoder for å mikse slam ombord

Baseslam

Når man har behov for å lage ferdigblandet slam, pumpes baseslam gjennom rørlinjer fra tankene i skaftet og opp i mindre tanker som heter aktiv tank (active mud tank). Disse mindre tankene blir ofte omtalt som pit.

I slammet tilsettes vektmateriale, viskositetsøkende materiale, eller andre tilsetningsstoffer som er nødvendig etter behovet i brønnen. Dette skjer ved hjelp av en transferpump som pumper slammet fra den tanken man ønsker å blande i, gjennom rørlinjer, og tilbake til samme tank. Denne tanken ser man da på som en aktiv blandetank (mixing tank). På denne turen har slammet vært innom mikserommet og blitt tilsatt ønskede kjemikalier for å oppnå de egenskaper som er nødvendig for slammet.

Tørrstoff

Vektmateriale, viskositetsøkende materiale og tilsetningsstoffer kan tas ombord i pulverform. Det lagres i bulksystemet, sekker og big-bags . Når det skal blandes sammen, pumpes det til miksestasjonen der alt samles i et rørsystem som går til pit.

Slammet sirkuleres rundt i blandesløyfen, får tilsatt kjemikalier og testes inntil mudingeniør er fornøyd med slammets egenskaper. Når mudingeniøren er fornøyd, er slammet ferdigblandet og klart til å pumpes gjennom sirkulasjonssystemet ved hjelp av mudpumpene. Slammet oppbevares i pitten til det er klart for slambytte i brønnen.

Samtidig aktivitet

Samtidig som blanding av nytt slam foregår, kan aktivt slam sirkuleres gjennom brønnen og overflatesystemet til de andre aktive tankene. Når det nye slammet skal brukes, kobles aktiv pit ut og blandetanken kobles inn mot slampumpene som sirkulerer slammet til brønnen. Nå endrer blandetanken status til aktiv pit på systemet.

Tankene som er tilknyttet pumperommet er mindre enn lagertankene. Størrelsen på tankene kan variere fra 15 m3 til 80 m3. De store forskjellene kommer av hvor stort volum som er nødvendig av ulike slamblandinger. Tankene har navn som Active, Reserve, Chemical og Slug. Slugtank brukes når det skal mikses en liten mengde slam med spesielle egenskaper (kalles ofte en pille). I kjemikalietanken tilsettes kjemikalier som gir slammet spesielle egenskaper. Kjemikalietanken er et lukket system med avsug for sikker håndtering av kjemikaliene. Reservetanken inneholder ofte tungt slam (killmud ) som står klart i tilfelle man får et kick i brønnen.

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Renseprosessen går fra grov- til finutskilling for å redusere slitasje på utstyret om bord. Gass må også fjernes fra slammet fordi gassen endrer slammets gjennomsnittlige egenvekt.
Det er ikke tillatt å dumpe partikler som er forurenset med olje på sjøen, så alt som er forurenset må leveres på land for spesialbehandling.
Rensesystemet kan variere litt avhengig av hvilken borerigg man er på. Det er imidlertid noe utstyr som er standard på de fleste boreriggene.

Gumbo box

På noen installasjoner finnes det en Gumbo-boks.

Når vi borer gjennom en leireformasjon, brukes Gumbo-boksen til å skille ut store klumper med svelleleire fra slammet. Svelleleire kan plugge rørene i rensesystemet, og det er derfor viktig å samle opp leirklumpene til slammet har vasket klumpene mindre. Når klumpene er blitt små nok, og det ikke er fare for plugging av rørsystemene, faller leirbitene gjennom en rist i Gumbo-boksen og fortsetter videre til siktemaskinene som heter Shale shaker.

Shale shaker

Når slammet kommer tilbake til overflaten etter å ha vært i borehullet, vil renseprosessen starte med det samme. Slammet går i flowline i toppen av brønntilkoblingen (riser eller conductor). Ved utløpet er det en dumpetank (shakerbox), der grovutskilling av større biter borekaks (drillcuttings) skjer. Fra shakerboxen blir slammet fordelt over flere siktemaskiner (shale shaker).

De fleste siktemaskiner er utstyrt med to eller flere etasjer med filterduker laget i metalltråd (shakerscreen). Shakerscreen fungerer som en sil og er festet i en ramme som er koblet til en vibrerende enhet. Denne vibrerer filterplatene slik at faste partikler skilles ut fra slammet. Slammet renner gjennom duken til undersiden, mens kakset blir vibrert framover til det faller i en skrue eller sjakt som leder kakset bort fra slammet. Rammene med filterdukene kan vinkles (tilt) til motbakke, slik at prosessen med utskilling av kaks skjer kontrollert.

Hver etasje med screen har forskjellig størrelse (mesh) på filteret. Den øverste etasjen har de største åpningene. Dette for å kunne ta ut det groveste materialet først. Deretter vil åpningene bli mindre og mindre i forhold til hvor mange etasjer med screen hver shaker har. Dette vil være til hjelp for å ta ut veldig små partikler med borekaks av slammet. Filtrene må spyles og sjekkes regelmessig underveis i borefasene. Det er viktig at hull og slitasje oppdages tidlig, slik at ikke kaks får komme videre i systemet.

Det er vanskelig å se for seg hvor små partikler en shaker kan fjerne fra slammet. Med det blotte øye kan man tro at slammet er partikkelfritt etter å ha gått gjennom en shaker, men slammet inneholder fremdeles små partikler som kan skade rørsystemet og pumpene.

Sandtrap

Sandfellen er en tank som tar imot slammet som kommer fra shaker. I denne tanken går strømmen av slam over i sakte bevegelse, slik at de tyngste partiklene skal få mulighet til å synke ned i bunnen av tanken og bli liggende der. Det er innløp i én ende og utløp i den andre enden av tanken. Avstanden mellom innløp og utløp avgjør hvor lang tid slammet får på veien, og hvor mye partikler som kan falle ut av slammet.

Sandfellen må tømmes og rengjøres med jevne mellomrom for å gjøre en god jobb. Blir det for mye partikler som tar plass i tanken, vil det være mindre rom for slammet. Det vil øke gjennomstrømningshastigheten, og da virker ikke denne fasen av renseprosessen godt nok. Samtidig som denne prosessen skjer, vil slammet kontinuerlig renne videre i rensesystemet. Noen rigger har ikke sandfelle og bruker i stedet den første slamtanken som synketank ved behov.

Degasser

En degasser fjerner gass fra slammet. Under en boreoperasjon hender det at målere (sniffere) registrerer varierende mengder med gass i slammet.
Gass i slammet kan oppstå når vi stopper boreoperasjonen og slamsirkulasjonen for å koble inn ny lengde med borerør (koblingsstopp), eller når gass fra formasjonen følger formasjonsmaterialet og væsken til overflaten. Det er snakk om små mengder gass, og dette blir derfor ikke klassifisert som kick. Slammet sendes gjennom degasseren når det registreres gass i returslammet.

En degasser kan fungere på forskjellige måter. Det finnes ulike utforminger innvendig, alle med samme hensikt. I noen skapes undertrykk (vacuum) ved hjelp av utvendig sugepumpe eller innvendig sentrifugalkraft. Undertrykket tvinger gassen ut av væsken.

En annen måte er å la væsken strømme over flere nivåer med plater, slik at væskens overflate blir større (poor boy). Det gjør at gassen får kortere vei ut av væsken, og den frigjøres derfor fra væsken. En slik løsning er vanlig i en vertikal degasser. Ved begge metoder vil gassen stige opp og ledes ut over bord, og slammet renner ned i en sentrifugetank. Når returslammet ikke inneholder gass, ledes slammet utenom degasseren.

Det er veldig viktig å vaske degasseren etter bruk. Et vaskesystem startes, slik at degasseren spyles innvendig og slamrestene fjernes. Om ikke dette gjøres, vil slammet stivne og føre til at degasseren ikke starter når det er behov for den igjen.

Sentrifuge

Sentrifugen tar ut de minste partiklene (mindre enn 2 micron) fra slammet. Den kan brukes til å redusere egenvekten på slammet, dersom det er ønskelig, fordi den har muligheten til å fjerne disse små partiklene. Sentrifugen er tilknyttet en sentrifugetank. Det er vanligvis to sentrifugetanker og to sentrifuger, fordi én ikke klarer å fjerne alle partiklene alene. Om det skal kjøres én eller to sentrifuger, avgjøres av mudingeniør som analyserer slammet jevnlig.

Fra degasseren går slammet over i sentrifugetanken. Sentrifugen suger slam fra tanken, sentrifugerer ut partiklene som ledes bort fra slammet og sender slammet videre. Dersom det er behov for to sentrifuger til å behandle slammet, går slammet videre til neste sentrifugetank og sentrifuge før det går videre.

Inni sentrifugen er det en roterende del (hus) som roterer med høy hastighet (opp mot 4000 rpm). Slammet blir slynget ut til siden med en slik hastighet at veldig små partikler blir frigjort. Slammet renner videre til neste tank, mens partiklene legger seg i en skrue som frakter disse ut av sentrifugen.

Sentrifugen vil også fjerne vektmateriale (barytt), som er små partikler og en viktig del av slammet. Mudingeniør kontrollerer slammet og passer på å erstatte vektmaterial-tapet, slik at slammet holder riktig egenvekt i brønnen. Når slammet er ferdig behandlet i sentrifugen, renner det inn i den siste tanken som heter cleantank.

Sentrifugen har stort behov for vedlikehold. Derfor er det viktig å kjøre dette utstyret med rent vann for å rengjøre den. Om ikke dette gjøres, vil partiklene bygge seg opp på innsiden av sentrifugen, og det blir problemer med å operere sentrifugen.

Cleantank

Cleantank er en mellomtank hvor slammet oppholder seg i en liten periode før det renner tilbake i hovedtank (active pit) for å starte en ny runde via brønnen i sirkulasjonssystemet. Dersom systemet er utstyrt med desilter, går slammet fra cleantank til desilteren.

I noen tilfeller er cleantanken utformet slik at den kan fungere som rensetank for renhold av sentrifugen. Da fylles cleantanken med ferskvann som tilsettes sitronsyre. Dette pumpes inn i sentrifugen og tilbake til cleantanken gjentatte ganger. Det skal løse opp hardpakkede rester av slam som er i sentrifugen.

Desilter

Desilter finnes på enkelte installasjoner. Denne kan ta ut små partikler som kalles silt (2–60 micron). Den er lite brukt ettersom den ikke bare tar bort partikler; ved å bruke denne mister man mye boreslam også. Med tanke på nulltoleranse for utslipp og kostnader på boreslammet blir desilteren ofte valgt bort.

Desilter og desander fungerer som en syklon. Væsken pumpes inn i siden av syklonen og får en hastighetsøkning på grunn av syklonformen innvendig. I bunnen skilles tyngre partikler ut, og i toppen skilles lettere partikler ut.
En hydrosyklon desander har færre og større sykloner og kan fjerne partikkelstørrelser opp mot ca. 200 micron.

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Illustrasjon.\",\"copyText\":null}],\"audios\":[],\"podcasts\":[],\"brightcoves\":[],\"__typename\":\"ArticleMetaData\",\"copyText\":null,\"footnotes\":[],\"concepts\":[],\"glosses\":[],\"h5ps\":[],\"textblocks\":[]},\"__typename\":\"TransformedArticleContent\",\"content\":\"

Se animasjon av virkemåte for stempel pumpe.

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Renseprosessen går fra grov- til finutskilling for å redusere slitasje på utstyret om bord. Gass må også fjernes fra slammet fordi gassen endrer slammets gjennomsnittlige egenvekt.
Det er ikke tillatt å dumpe partikler som er forurenset med olje på sjøen, så alt som er forurenset må leveres på land for spesialbehandling.
Rensesystemet kan variere litt avhengig av hvilken borerigg man er på. Det er imidlertid noe utstyr som er standard på de fleste boreriggene.

Gumbo box

På noen installasjoner finnes det en Gumbo-boks.

Når vi borer gjennom en leireformasjon, brukes Gumbo-boksen til å skille ut store klumper med svelleleire fra slammet. Svelleleire kan plugge rørene i rensesystemet, og det er derfor viktig å samle opp leirklumpene til slammet har vasket klumpene mindre. Når klumpene er blitt små nok, og det ikke er fare for plugging av rørsystemene, faller leirbitene gjennom en rist i Gumbo-boksen og fortsetter videre til siktemaskinene som heter Shale shaker.

Shale shaker

Når slammet kommer tilbake til overflaten etter å ha vært i borehullet, vil renseprosessen starte med det samme. Slammet går i flowline i toppen av brønntilkoblingen (riser eller conductor). Ved utløpet er det en dumpetank (shakerbox), der grovutskilling av større biter borekaks (drillcuttings) skjer. Fra shakerboxen blir slammet fordelt over flere siktemaskiner (shale shaker).

De fleste siktemaskiner er utstyrt med to eller flere etasjer med filterduker laget i metalltråd (shakerscreen). Shakerscreen fungerer som en sil og er festet i en ramme som er koblet til en vibrerende enhet. Denne vibrerer filterplatene slik at faste partikler skilles ut fra slammet. Slammet renner gjennom duken til undersiden, mens kakset blir vibrert framover til det faller i en skrue eller sjakt som leder kakset bort fra slammet. Rammene med filterdukene kan vinkles (tilt) til motbakke, slik at prosessen med utskilling av kaks skjer kontrollert.

Hver etasje med screen har forskjellig størrelse (mesh) på filteret. Den øverste etasjen har de største åpningene. Dette for å kunne ta ut det groveste materialet først. Deretter vil åpningene bli mindre og mindre i forhold til hvor mange etasjer med screen hver shaker har. Dette vil være til hjelp for å ta ut veldig små partikler med borekaks av slammet. Filtrene må spyles og sjekkes regelmessig underveis i borefasene. Det er viktig at hull og slitasje oppdages tidlig, slik at ikke kaks får komme videre i systemet.

Det er vanskelig å se for seg hvor små partikler en shaker kan fjerne fra slammet. Med det blotte øye kan man tro at slammet er partikkelfritt etter å ha gått gjennom en shaker, men slammet inneholder fremdeles små partikler som kan skade rørsystemet og pumpene.

Sandtrap

Sandfellen er en tank som tar imot slammet som kommer fra shaker. I denne tanken går strømmen av slam over i sakte bevegelse, slik at de tyngste partiklene skal få mulighet til å synke ned i bunnen av tanken og bli liggende der. Det er innløp i én ende og utløp i den andre enden av tanken. Avstanden mellom innløp og utløp avgjør hvor lang tid slammet får på veien, og hvor mye partikler som kan falle ut av slammet.

Sandfellen må tømmes og rengjøres med jevne mellomrom for å gjøre en god jobb. Blir det for mye partikler som tar plass i tanken, vil det være mindre rom for slammet. Det vil øke gjennomstrømningshastigheten, og da virker ikke denne fasen av renseprosessen godt nok. Samtidig som denne prosessen skjer, vil slammet kontinuerlig renne videre i rensesystemet. Noen rigger har ikke sandfelle og bruker i stedet den første slamtanken som synketank ved behov.

Degasser

En degasser fjerner gass fra slammet. Under en boreoperasjon hender det at målere (sniffere) registrerer varierende mengder med gass i slammet.
Gass i slammet kan oppstå når vi stopper boreoperasjonen og slamsirkulasjonen for å koble inn ny lengde med borerør (koblingsstopp), eller når gass fra formasjonen følger formasjonsmaterialet og væsken til overflaten. Det er snakk om små mengder gass, og dette blir derfor ikke klassifisert som kick. Slammet sendes gjennom degasseren når det registreres gass i returslammet.

En degasser kan fungere på forskjellige måter. Det finnes ulike utforminger innvendig, alle med samme hensikt. I noen skapes undertrykk (vacuum) ved hjelp av utvendig sugepumpe eller innvendig sentrifugalkraft. Undertrykket tvinger gassen ut av væsken.

En annen måte er å la væsken strømme over flere nivåer med plater, slik at væskens overflate blir større (poor boy). Det gjør at gassen får kortere vei ut av væsken, og den frigjøres derfor fra væsken. En slik løsning er vanlig i en vertikal degasser. Ved begge metoder vil gassen stige opp og ledes ut over bord, og slammet renner ned i en sentrifugetank. Når returslammet ikke inneholder gass, ledes slammet utenom degasseren.

Det er veldig viktig å vaske degasseren etter bruk. Et vaskesystem startes, slik at degasseren spyles innvendig og slamrestene fjernes. Om ikke dette gjøres, vil slammet stivne og føre til at degasseren ikke starter når det er behov for den igjen.

Sentrifuge

Sentrifugen tar ut de minste partiklene (mindre enn 2 micron) fra slammet. Den kan brukes til å redusere egenvekten på slammet, dersom det er ønskelig, fordi den har muligheten til å fjerne disse små partiklene. Sentrifugen er tilknyttet en sentrifugetank. Det er vanligvis to sentrifugetanker og to sentrifuger, fordi én ikke klarer å fjerne alle partiklene alene. Om det skal kjøres én eller to sentrifuger, avgjøres av mudingeniør som analyserer slammet jevnlig.

Fra degasseren går slammet over i sentrifugetanken. Sentrifugen suger slam fra tanken, sentrifugerer ut partiklene som ledes bort fra slammet og sender slammet videre. Dersom det er behov for to sentrifuger til å behandle slammet, går slammet videre til neste sentrifugetank og sentrifuge før det går videre.

Inni sentrifugen er det en roterende del (hus) som roterer med høy hastighet (opp mot 4000 rpm). Slammet blir slynget ut til siden med en slik hastighet at veldig små partikler blir frigjort. Slammet renner videre til neste tank, mens partiklene legger seg i en skrue som frakter disse ut av sentrifugen.

Sentrifugen vil også fjerne vektmateriale (barytt), som er små partikler og en viktig del av slammet. Mudingeniør kontrollerer slammet og passer på å erstatte vektmaterial-tapet, slik at slammet holder riktig egenvekt i brønnen. Når slammet er ferdig behandlet i sentrifugen, renner det inn i den siste tanken som heter cleantank.

Sentrifugen har stort behov for vedlikehold. Derfor er det viktig å kjøre dette utstyret med rent vann for å rengjøre den. Om ikke dette gjøres, vil partiklene bygge seg opp på innsiden av sentrifugen, og det blir problemer med å operere sentrifugen.

Cleantank

Cleantank er en mellomtank hvor slammet oppholder seg i en liten periode før det renner tilbake i hovedtank (active pit) for å starte en ny runde via brønnen i sirkulasjonssystemet. Dersom systemet er utstyrt med desilter, går slammet fra cleantank til desilteren.

I noen tilfeller er cleantanken utformet slik at den kan fungere som rensetank for renhold av sentrifugen. Da fylles cleantanken med ferskvann som tilsettes sitronsyre. Dette pumpes inn i sentrifugen og tilbake til cleantanken gjentatte ganger. Det skal løse opp hardpakkede rester av slam som er i sentrifugen.

Desilter

Desilter finnes på enkelte installasjoner. Denne kan ta ut små partikler som kalles silt (2–60 micron). Den er lite brukt ettersom den ikke bare tar bort partikler; ved å bruke denne mister man mye boreslam også. Med tanke på nulltoleranse for utslipp og kostnader på boreslammet blir desilteren ofte valgt bort.

Desilter og desander fungerer som en syklon. Væsken pumpes inn i siden av syklonen og får en hastighetsøkning på grunn av syklonformen innvendig. I bunnen skilles tyngre partikler ut, og i toppen skilles lettere partikler ut.
En hydrosyklon desander har færre og større sykloner og kan fjerne partikkelstørrelser opp mot ca. 200 micron.

Sirkulasjonssystemet

Slammet pumpes fra tanken (active pit) opp til boredekk. Der går væsken gjennom et rør i top drive og videre innvendig ned gjennom borestrengen og ut av dysene i borekronen. Etter at slammet har kommet ut av borekronen, begynner det på returen tilbake til tanken.

Sammen med returstrømmen løftes borekaksut fra brønnen. Returvæsken (slam med forurensninger) stiger oppover på utsiden av borestrengen og tilbake til overflaten.

På overflaten går slammet gjennom et anlegg som består av flere typer rensemaskiner. Slammet filtreres og renses for urenheter i en renseprosess i flere faser. Gjennom ulike metoder med filter og rotasjon trekkes steiner, sand og små partikler ut av slammet.

Det gjøres slik at vi kan gjenbruke slammet. Det er viktig å fjerne alt det faste materialet for å få slammet tilbake til den tilstanden vi ønsker at det skal ha for boreoperasjonen. Til slutt ender slammet tilbake i tanken det kom fra.

Pumpesystemet

Man ser gjerne på pumpesystemet som hjertet i sirkulasjonssystemet. Om pumpene slutter å jobbe, er det svært lite som kan gjøres i borehullet. Pumpesystemet krever mye vedlikehold, både under operasjon og når det er små pauser i operasjonene. Når en pumpe skal vedlikeholdes, kobler vi inn en annen pumpe i brønnsirkulasjonen. Det er alltid flere pumper tilgjengelig til å sirkulere borevæsken i brønnen.

Pumpesystemet består vanligvis av tre eller flere triplex mudpumper. For at mudpumpen skal få slammet inn fra active pit til pumpen, trengs det en fødepumpe som heter supercharge pump. Supercharge-pumpen, som er en sentrifugalpumpe, leverer slam fra tanken til linjene inn mot stempelpumpen, slik at ikke stemplene i triplexpumpen slår \\\\"tørt\\\\".

Triplexpumpe

Triplexpumpen er en stempelpumpe med tre stempler som kan være dobbelt- eller enkeltvirkende. Stemplene drives fram og tilbake i sylinderen ved hjelp av pumpemotoren. Bevegelsen til stempelet bidrar til å trekke inn væske fra sugesiden og skyve væsken ut igjen på leveringssiden. Dersom pumpen er dobbeltvirkende, skjer denne suge- og leveringsaktiviteten både når stempelet går framover og bakover i sylinderen.

Sylinderdimensjonen (linersize) og lengden på slaget (stroke) bestemmer hvor mye væske som leveres per slag. Det er vanlig med en 7\\\\" sylinder og opp mot 14\\\\" slaglengde, men det finnes større og mindre typer. Detaljer om leveringsmengde og trykk finnes blant annet i Drilling Data Handbook (DDH).

Fordelen med stempelpumpen er at den kan levere svært høye trykk, store volum og er effektiv selv om væsken har høy viskositet.

Virkemåte

Fra active pit åpnes en ventil til rørsystemet som leder slammet til fødepumpen (supercharge). Fødepumpen pumper slammet inn til mudpumpen, slik at stemplene i mudpumpen kan pumpe slammet videre rundt i sirkulasjonssystemet.

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Engelsk ekstern ressurs fra Wikipedia med fordypningsdetaljer om shale shaker

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Slamrensing

Det er høye krav til kvalitet på behandling av returslam ettersom slammet skal tilbakeføres i brønnen i en sirkulasjonssløyfe. Om bord i riggen er det masse utstyr som skiller ut partikler av ulike størrelser fra slammet. Tradisjonelt har utstyret bestått av grovsikt (shaker), finsikt (desander og desilter) og syklonseparator.

Utstyret som har vært i bruk siden 1930-tallet, har sine svakheter, blant annet mye støy, vibrasjoner og avgasser og oljedamp som forurenser arbeidsmiljøet. I tillegg er det en stor kostnad knyttet til spesialbehandling av partiklene fordi det er slam på partiklene som skilles ut.

Det er svært plasskrevende med alt utstyret som behøves, og det er en stor vektbelastning på flytende rigger. I tillegg krever shakeren ekstra bjelkelag med sjokkputer for å ta opp vibrasjonene den skaper i sikteprosessen.

Utvikling av ny teknologi

MudCube ble utviklet som et teknisk tiltak for å redusere belastningene på personell som jobbet med slambehandlingen. Målet var å forbedre arbeidsmiljøet for de mange arbeiderne som fikk store problemer med opphold i shaker-rommet på grunn av støy, vibrasjoner og avgasser fra borevæskene. I 2005 kom det et gjennombrudd i teknologiutviklingen.

I utviklingen og uttestingen har MudCube vist at den har oppnådd bedre arbeidsmiljø for dem som jobber i slambehandlingen, lavere slamvedheng på partiklene, godkjent rensing av slam i en enhet og inntjening av investering i løpet av fem–seks brønner.

"}}}\\\">

MudCube

MudCube skiller grove og fine partikler ut av slammet, på samme måte som shakeren, desilteren og desanderen til sammen. Slammet føres tilbake til active pit, mens borekaks føres til landmottak for behandling og avfallsdeponering.

Hvordan virker MudCube?

MudCube er et lukket system med et roterende bånd som fungerer på samme måte som en tredemølle. Båndet er en åpen rist og drives på en aksling som roterer ved hjelp av en elektromotor.

På båndet legges et stort filter som festes med borrelås. Returslam fra brønnen føres inn i boksen i bak-kant, og mens filteret roterer framover, skilles væsken ut gjennom filteråpningene og ledes tilbake til active pit. I huset trekkes luft ut ved hjelp av en «undertrykkspumpe», og drar slamrester av partiklene før disse faller ned i oppsamlerrennen.

Utskilling av partiklene gjøres ved hjelp av tyngdekraft i motsetning til når man bruker shakeren som rister partiklene fra væsken. I forkant av filterbåndet faller partiklene ned i oppsamlerrennen. Undertrykk i boksen bidrar til at slamdråper som normalt ville blitt igjen på partiklene, trekkes av og føres tilbake til tanken. Det gjør at tapet av slam i renseprosessen er betydelig redusert. Undertrykket gjør også at avgasser fra slamdampen føres bort fra boksen og ut på siden av riggen. På en aksling på innsiden av båndet står det luft- og vanndyser som brukes for å fjerne fine sandpartikler og leire som fester seg i filteret.

Drift og vedlikehold

Ettersom MudCube er et lukket system, er det installert kameraovervåkning i enheten. Roughnecken som tidligere måtte overvåke filtrene i shaker-rommet, kan overvåke hele driften på skjermer i et kontormiljø eller i drillerbua. Det er enkelt å skifte filterduken, som rulles på båndet og festes med borrelås.

Duken skiftes etter 100–200 driftstimer eller dersom maskevidden skal endres. Det er vanlig at mud-ingeniøren kommer med innspill om hvilken filteråpning som passer best ut fra formasjonen det bores i.

Selskapene som bruker MudCube, rapporterer at de får bedre ROP under boring fordi slammet holder en meget høy kvalitet etter rensing med MudCube. MudCube har vist seg å være svært driftssikker og har i oppstarten hatt over 80 000 driftstimer uten nedetid.

Cubility har installert 20 MudCubes på 10 rigger per mai 2016.

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\"},\"__typename\":\"Article\",\"grepCodes\":[],\"htmlIntroduction\":\"Slamsystemet består av slam, pumper og rensesystem. Slammet skal sirkuleres gjennom brønnen for å fjerne løse masser og små partikler, kjøle borekronen og holde trykk i brønnen. Ser du sammenhengen i systemet?\",\"htmlTitle\":\"Hva kan du om slamsystemet?\",\"oembed\":\"https://test.ndla.no/article-iframe/nb/article/359\",\"traits\":[\"INTERACTIVE\"],\"revision\":18,\"language\":\"nb\",\"transformedDisclaimer\":{\"content\":\"\",\"__typename\":\"TransformedArticleContent\"}},\"__typename\":\"Resource\"},\"embedUrl\":null,\"oembed\":null,\"__typename\":\"LearningpathStep\",\"showTitle\":false,\"copyright\":null,\"seqNo\":8}],\"title\":\"Slamsirkulasjonssystemet\",\"lastUpdated\":\"2020-06-05T08:11:02.000Z\",\"copyright\":{\"contributors\":[{\"type\":\"editorial\",\"name\":\"Sissel Paaske\",\"__typename\":\"Contributor\"}],\"__typename\":\"LearningpathCopyright\",\"license\":{\"license\":\"CC-BY-SA-4.0\",\"__typename\":\"License\"}},\"basedOn\":null,\"isMyNDLAOwner\":false,\"__typename\":\"Learningpath\",\"introduction\":\"

I denne læringsstien skal vi se nærmere på prosessen for miksing av slam og sirkulasjonssløyfen slammet går gjennom, og utstyret som brukes.

 

 

 

Når du har gjennomført denne læringsstien, kan du

 

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ArticlePage_Node on Node {\\n id\\n nodeType\\n name\\n url\\n contentUri\\n relevanceId\\n resourceTypes {\\n name\\n id\\n __typename\\n }\\n context {\\n contextId\\n isArchived\\n parents {\\n contextId\\n id\\n name\\n url\\n __typename\\n }\\n __typename\\n }\\n article {\\n created\\n updated\\n metaDescription\\n oembed\\n tags\\n ...StructuredArticleData\\n ...Article_Article\\n __typename\\n }\\n __typename\\n}\\n\\nfragment StructuredArticleData on Article {\\n id\\n title\\n metaDescription\\n published\\n updated\\n supportedLanguages\\n copyright {\\n ...StructuredArticleData_Copyright\\n __typename\\n }\\n metaImage {\\n image {\\n imageUrl\\n __typename\\n }\\n alttext {\\n alttext\\n __typename\\n }\\n __typename\\n }\\n competenceGoals {\\n id\\n code\\n title\\n type\\n __typename\\n }\\n coreElements {\\n id\\n title\\n __typename\\n }\\n transformedContent(transformArgs: $transformArgs) {\\n metaData {\\n images {\\n ...StructuredArticleData_ImageLicense\\n __typename\\n }\\n audios {\\n ...StructuredArticleData_AudioLicense\\n __typename\\n }\\n podcasts {\\n ...StructuredArticleData_PodcastLicense\\n __typename\\n }\\n brightcoves {\\n ...StructuredArticleData_BrightcoveLicense\\n __typename\\n }\\n __typename\\n }\\n __typename\\n }\\n __typename\\n}\\n\\nfragment StructuredArticleData_Copyright on Copyright {\\n license {\\n url\\n license\\n __typename\\n }\\n creators {\\n name\\n type\\n __typename\\n }\\n processors {\\n name\\n type\\n __typename\\n }\\n rightsholders {\\n name\\n type\\n __typename\\n }\\n processed\\n __typename\\n}\\n\\nfragment StructuredArticleData_BrightcoveLicense on BrightcoveLicense {\\n src\\n title\\n cover\\n description\\n download\\n uploadDate\\n copyright {\\n ...StructuredArticleData_Copyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment StructuredArticleData_AudioLicense on AudioLicense {\\n src\\n title\\n copyright {\\n ...StructuredArticleData_Copyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment StructuredArticleData_PodcastLicense on PodcastLicense {\\n src\\n title\\n description\\n copyright {\\n ...StructuredArticleData_Copyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment StructuredArticleData_ImageLicense on ImageLicense {\\n src\\n title\\n copyright {\\n ...StructuredArticleData_Copyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment Article_Article on Article {\\n id\\n created\\n updated\\n supportedLanguages\\n grepCodes\\n htmlIntroduction\\n htmlTitle\\n oembed\\n traits\\n revision\\n transformedContent(transformArgs: $transformArgs) {\\n content\\n metaData {\\n copyText\\n footnotes {\\n ref\\n title\\n year\\n authors\\n edition\\n publisher\\n url\\n __typename\\n }\\n __typename\\n }\\n __typename\\n }\\n language\\n transformedDisclaimer {\\n content\\n __typename\\n }\\n ...LicenseBox_Article\\n __typename\\n}\\n\\nfragment LicenseBox_Article on Article {\\n id\\n title\\n htmlTitle\\n published\\n copyright {\\n ...TextLicenseList_Copyright\\n __typename\\n }\\n transformedContent(transformArgs: $transformArgs) {\\n metaData {\\n copyText\\n concepts {\\n ...ConceptLicenseList_ConceptLicense\\n __typename\\n }\\n glosses {\\n ...GlossLicenseList_GlossLicense\\n __typename\\n }\\n h5ps {\\n ...H5pLicenseList_H5pLicense\\n __typename\\n }\\n brightcoves {\\n ...VideoLicenseList_BrightcoveLicense\\n __typename\\n }\\n audios {\\n ...AudioLicenseList_AudioLicense\\n __typename\\n }\\n podcasts {\\n ...PodcastLicenseList_PodcastLicense\\n __typename\\n }\\n images {\\n ...ImageLicenseList_ImageLicense\\n __typename\\n }\\n textblocks {\\n title\\n copyright {\\n ...TextLicenseList_Copyright\\n __typename\\n }\\n __typename\\n }\\n __typename\\n }\\n __typename\\n }\\n __typename\\n}\\n\\nfragment GlossLicenseList_GlossLicense on GlossLicense {\\n id\\n title\\n src\\n copyright {\\n license {\\n license\\n __typename\\n }\\n creators {\\n name\\n type\\n __typename\\n }\\n processors {\\n name\\n 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BrightcoveLicense {\\n id\\n title\\n download\\n src\\n cover\\n iframe {\\n width\\n height\\n src\\n __typename\\n }\\n copyright {\\n ...LicenseListCopyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment AudioLicenseList_AudioLicense on AudioLicense {\\n id\\n src\\n title\\n copyright {\\n origin\\n ...LicenseListCopyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment PodcastLicenseList_PodcastLicense on PodcastLicense {\\n id\\n src\\n copyText\\n title\\n description\\n copyright {\\n origin\\n ...LicenseListCopyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment ImageLicenseList_ImageLicense on ImageLicense {\\n id\\n title\\n altText\\n src\\n copyText\\n copyright {\\n origin\\n ...LicenseListCopyright\\n __typename\\n }\\n __typename\\n}\\n\\nfragment TextLicenseList_Copyright on Copyright {\\n ...LicenseListCopyright\\n __typename\\n}\\n\\nfragment LearningpathPage_Node on Node {\\n id\\n nodeType\\n name\\n url\\n context {\\n contextId\\n isArchived\\n parents {\\n contextId\\n id\\n name\\n url\\n __typename\\n }\\n __typename\\n }\\n learningpath {\\n id\\n supportedLanguages\\n tags\\n description\\n coverphoto {\\n id\\n image {\\n imageUrl\\n __typename\\n }\\n metaUrl\\n __typename\\n }\\n learningsteps {\\n type\\n ...LearningpathContent_LearningpathStep\\n __typename\\n }\\n ...LearningpathContent_Learningpath\\n ...LearningpathMenu_Learningpath\\n __typename\\n }\\n ...LearningpathContent_Node\\n __typename\\n}\\n\\nfragment LearningpathMenu_Learningpath on BaseLearningpath {\\n id\\n title\\n lastUpdated\\n copyright {\\n contributors {\\n type\\n name\\n __typename\\n }\\n __typename\\n }\\n learningsteps {\\n id\\n title\\n seqNo\\n __typename\\n }\\n basedOn\\n isMyNDLAOwner\\n ...CopyLearningpath_Learningpath\\n __typename\\n}\\n\\nfragment CopyLearningpath_Learningpath on BaseLearningpath {\\n id\\n title\\n copyright {\\n license {\\n license\\n __typename\\n }\\n __typename\\n }\\n __typename\\n}\\n\\nfragment LearningpathContent_Learningpath on BaseLearningpath {\\n id\\n title\\n ...LearningpathNavigation_Learningpath\\n ...LearningpathStep_Learningpath\\n __typename\\n}\\n\\nfragment LearningpathStep_Learningpath on BaseLearningpath {\\n ...TextStep_Learningpath\\n ...ExternalStep_Learningpath\\n __typename\\n}\\n\\nfragment TextStep_Learningpath on BaseLearningpath {\\n copyright {\\n contributors {\\n type\\n name\\n __typename\\n }\\n __typename\\n }\\n __typename\\n}\\n\\nfragment ExternalStep_Learningpath on BaseLearningpath {\\n copyright {\\n contributors {\\n type\\n name\\n __typename\\n }\\n __typename\\n }\\n __typename\\n}\\n\\nfragment LearningpathNavigation_Learningpath on BaseLearningpath {\\n id\\n introduction\\n learningsteps {\\n id\\n __typename\\n }\\n __typename\\n}\\n\\nfragment LearningpathContent_LearningpathStep on BaseLearningpathStep {\\n id\\n title\\n introduction\\n ...LearningpathStep_LearningpathStep\\n __typename\\n}\\n\\nfragment LearningpathStep_LearningpathStep on BaseLearningpathStep {\\n ...ArticleStep_LearningpathStep\\n ...LearningpathStepTitle_LearningpathStep\\n ...TextStep_LearningpathStep\\n ...ExternalStep_LearningpathStep\\n __typename\\n}\\n\\nfragment ArticleStep_LearningpathStep on BaseLearningpathStep {\\n id\\n title\\n description\\n introduction\\n opengraph {\\n title\\n description\\n url\\n __typename\\n }\\n resource {\\n id\\n nodeType\\n url\\n relevanceId\\n resourceTypes {\\n id\\n name\\n __typename\\n }\\n article {\\n ...LearningpathEmbed_Article\\n __typename\\n }\\n __typename\\n }\\n embedUrl {\\n embedType\\n url\\n __typename\\n }\\n oembed {\\n html\\n width\\n height\\n type\\n version\\n __typename\\n }\\n __typename\\n}\\n\\nfragment LearningpathEmbed_Article on Article {\\n id\\n metaDescription\\n created\\n updated\\n articleType\\n requiredLibraries {\\n name\\n url\\n mediaType\\n __typename\\n }\\n ...StructuredArticleData\\n ...Article_Article\\n 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Helse- og oppvekstfag skal utdanne fagarbeidere som er med og dekker behovet for kompetanse i helse- og oppvekstsektoren i et samfunn i endring. Utvikling av engasjement, god dømmekraft og profesjonelt faglig skjønn hos elevene er en sentral del av faget.

Programfagene skal bidra til en yrkesutøvelse som fremmer mestring, utvikling og helse, og som gir grunnlag for helsefremmende arbeid med mennesker i ulike livssituasjoner. Sosial kompetanse og respekt for mennesker, kulturer og tradisjoner er sentralt i helse- og oppvekstfag, i tillegg til utvikling av praktiske ferdigheter og evne til refleksjon over eget arbeid.

Årsplan i helse- og oppvekstfag

Emnene i helse- og oppvekstfag har innhold og arbeidsoppgaver som dekker flere eller alle programfagene. Vi håper planen kan være til inspirasjon! Last den gjerne ned og tilpass den til din elevgruppe og ditt miljø.

Det er mulig å trykke på de ulike emnene under fagene, disse inneholder lenker. Lenkene fører deg til fagartikler og oppgaver i det aktuelle emnet på ndla.no. Trykker du på kompetansemålene, vil lenken føre deg til Utdanningsdirektoratets nettsider og kompetansemålene i faget.

Nyttige ressurser hos NDLA

NDLA har laget tverrfaglige ressurser som kan være nyttige ved skolestart og gjennom hele året. En av ressursene er Verktøykassa. Her finner du mange fagartikler og oppgaver knyttet til en god skolestart og hvordan skape et trygt og utviklende skolemiljø. Du finner også mange andre gode tips og råd her.

For elever på helse- og oppvekstfag er det nyttig å øve på framføringer og presentasjoner. De to ressursene 11 kreative tips til framføringer og Presentasjoner er fagstoff og oppgaver som gir elevene innsikt i hva dette er, og mulighet til å øve.

Forslag til samarbeid med fellesfag

Engelsk, naturfag, matematikk og kroppsøving har kompetansemål som gjør det mulig å samarbeide om ulike prosjekter i løpet av året. Et tips er å gå gjennom kompetansemålene i disse fagene og samarbeide med fellesfaglærere og lage ulike prosjekter som dere kan gjennomføre i alle fagene.

Kilde

Utdanningsdirektoratet. (2021). Læreplan i vg1 helse- og oppvekstfag (HSF01-03). https://www.udir.no/lk20/hsf01-03?lang=nob

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Helse- og oppvekstfag skal utdanne fagarbeidere som er med og dekker behovet for kompetanse i helse- og oppvekstsektoren i et samfunn i endring. Utvikling av engasjement, god dømmekraft og profesjonelt faglig skjønn hos elevene er en sentral del av faget.

Programfagene skal bidra til en yrkesutøvelse som fremmer mestring, utvikling og helse, og som gir grunnlag for helsefremmende arbeid med mennesker i ulike livssituasjoner. Sosial kompetanse og respekt for mennesker, kulturer og tradisjoner er sentralt i helse- og oppvekstfag, i tillegg til utvikling av praktiske ferdigheter og evne til refleksjon over eget arbeid.

Årsplan i helse- og oppvekstfag

Emnene i helse- og oppvekstfag har innhold og arbeidsoppgaver som dekker flere eller alle programfagene. Vi håper planen kan være til inspirasjon! Last den gjerne ned og tilpass den til din elevgruppe og ditt miljø.

Det er mulig å trykke på de ulike emnene under fagene, disse inneholder lenker. Lenkene fører deg til fagartikler og oppgaver i det aktuelle emnet på ndla.no. Trykker du på kompetansemålene, vil lenken føre deg til Utdanningsdirektoratets nettsider og kompetansemålene i faget.

Nyttige ressurser hos NDLA

NDLA har laget tverrfaglige ressurser som kan være nyttige ved skolestart og gjennom hele året. En av ressursene er Verktøykassa. Her finner du mange fagartikler og oppgaver knyttet til en god skolestart og hvordan skape et trygt og utviklende skolemiljø. Du finner også mange andre gode tips og råd her.

For elever på helse- og oppvekstfag er det nyttig å øve på framføringer og presentasjoner. De to ressursene 11 kreative tips til framføringer og Presentasjoner er fagstoff og oppgaver som gir elevene innsikt i hva dette er, og mulighet til å øve.

Forslag til samarbeid med fellesfag

Engelsk, naturfag, matematikk og kroppsøving har kompetansemål som gjør det mulig å samarbeide om ulike prosjekter i løpet av året. Et tips er å gå gjennom kompetansemålene i disse fagene og samarbeide med fellesfaglærere og lage ulike prosjekter som dere kan gjennomføre i alle fagene.

Kilde

Utdanningsdirektoratet. (2021). Læreplan i vg1 helse- og oppvekstfag (HSF01-03). https://www.udir.no/lk20/hsf01-03?lang=nob

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import { LearningpathStepTitle } from "./LearningpathStepTitle"; import { TextStep } from "./TextStep"; -const urlIsNDLAApiUrl = (url: string) => /^(http|https):\/\/(ndla-frontend|www).([a-zA-Z]+.)?api.ndla.no/.test(url); -const urlIsNDLAEnvUrl = (url: string) => /^(http|https):\/\/(www.)?([a-zA-Z]+.)?ndla.no/.test(url); -const urlIsLocalNdla = (url: string) => /^http:\/\/(proxy.ndla-local|localhost):30017/.test(url); -const urlIsNDLAUrl = (url: string) => urlIsNDLAApiUrl(url) || urlIsNDLAEnvUrl(url) || urlIsLocalNdla(url); - const regex = new RegExp(`^\\/(${supportedLanguages.join("|")})($|\\/)`, ""); const getIdFromIframeUrl = (_url: string): [string | undefined, string | undefined] => { @@ -62,31 +57,7 @@ export const LearningpathStep = ({ ? getIdFromIframeUrl(learningpathStep.embedUrl.url) : [undefined, undefined]; - const shouldUseConverter = - !!articleId && - !!learningpathStep.resource?.article && - !!learningpathStep.embedUrl && - urlIsNDLAUrl(learningpathStep.embedUrl?.url); - - if ( - !shouldUseConverter && - !learningpathStep.resource && - learningpathStep.oembed?.html && - (learningpathStep.embedUrl?.embedType === "oembed" || learningpathStep.embedUrl?.embedType === "iframe") - ) { - return ( - <> - - - - ); - } else if (learningpathStep.resource) { + if (learningpathStep.type === "ARTICLE" && learningpathStep.resource) { return ( <> @@ -101,18 +72,36 @@ export const LearningpathStep = ({ /> ); - } else if (learningpathStep.embedUrl?.embedType === "external") { - return ( - - ); + } else if (learningpathStep.type === "EXTERNAL") { + if (learningpathStep.oembed?.html) { + return ( + <> + + + + ); + } else if (learningpathStep.embedUrl?.embedType === "external") { + return ( + + ); + } // this is either a plain text step from stier, or a text step from my ndla. // There's really no way to know, so we have to make an educated guess. - } else if (learningpathStep.introduction || learningpathStep.description?.startsWith("
")) { + } else if ( + learningpathStep.type === "TEXT" && + (learningpathStep.introduction || learningpathStep.description?.startsWith("
")) + ) { return ( ); - } else { - return ( - - ); } + + return ( + + ); }; LearningpathStep.fragments = { learningpathStep: gql` fragment LearningpathStep_LearningpathStep on BaseLearningpathStep { + id + type ...ArticleStep_LearningpathStep ...LearningpathStepTitle_LearningpathStep ...TextStep_LearningpathStep diff --git a/src/containers/MyNdla/Learningpath/components/DraggableLearningpathStepListItem.tsx b/src/containers/MyNdla/Learningpath/components/DraggableLearningpathStepListItem.tsx index 2872c1e90..e320234d8 100644 --- a/src/containers/MyNdla/Learningpath/components/DraggableLearningpathStepListItem.tsx +++ b/src/containers/MyNdla/Learningpath/components/DraggableLearningpathStepListItem.tsx @@ -18,7 +18,7 @@ import { useParams } from "react-router"; import { GQLMyNdlaLearningpathStepFragment } from "../../../../graphqlTypes"; import { routes } from "../../../../routeHelpers"; import { DragHandle } from "../../components/DragHandle"; -import { getFormTypeFromStep, learningpathStepCloseButtonId, learningpathStepEditButtonId } from "../utils"; +import { learningpathStepCloseButtonId, learningpathStepEditButtonId } from "../utils"; import { DraggableListItem } from "./DraggableListItem"; import { LearningpathStepForm } from "./LearningpathStepForm"; @@ -82,8 +82,6 @@ export const DraggableLearningpathStepListItem = ({ }, }); - const stepType = getFormTypeFromStep(step); - const style = { transform: CSS.Transform.toString(transform), transition, @@ -108,7 +106,7 @@ export const DraggableLearningpathStepListItem = ({ {step.title} - {t(`myNdla.learningpath.form.options.${stepType}`)} + {t(`myNdla.learningpath.form.options.${step.type}`)} {!isEditingStep ? ( { const methods = useForm({ mode: "onSubmit", - defaultValues: toFormValues(getFormTypeFromStep(step), step), + defaultValues: toFormValues(step?.type ?? "TEXT", step), }); useEffect(() => { @@ -188,7 +188,7 @@ export const LearningpathStepForm = ({ step, language }: Props) => { handleSubmit(onSave)(); }; - const stepType = getFormTypeFromStep(step); + const stepType = step?.type ?? "TEXT"; return ( @@ -204,7 +204,7 @@ export const LearningpathStepForm = ({ step, language }: Props) => { {fieldState.error?.message} { - reset(toFormValues(details.value as FormValues["type"])); + reset(toFormValues(details.value as GQLLearningpathStepType)); field.onChange(details.value); }} value={field.value} @@ -230,7 +230,7 @@ export const LearningpathStepForm = ({ step, language }: Props) => { ) : ( <> {t("myNdla.learningpath.form.content.text.editingDisabled.message")} - {stepType === "text" ? : null} + {stepType === "TEXT" ? : null} )} @@ -262,7 +262,7 @@ const StepFormType = ({ step }: StepFormTypeProps) => { const { watch } = useFormContext(); const formType = watch("type"); - if (formType === "resource") { + if (formType === "ARTICLE") { return ( { } /> ); - } else if (formType === "external") { + } else if (formType === "EXTERNAL") { return ; - } else if (formType === "text") { + } else if (formType === "TEXT") { return ; - } else if (formType === "folder") { + } else if (formType === "FOLDER") { return ; } return null; diff --git a/src/containers/MyNdla/Learningpath/components/ResourceStepForm.tsx b/src/containers/MyNdla/Learningpath/components/ResourceStepForm.tsx index c90829963..6a4855c79 100644 --- a/src/containers/MyNdla/Learningpath/components/ResourceStepForm.tsx +++ b/src/containers/MyNdla/Learningpath/components/ResourceStepForm.tsx @@ -31,7 +31,7 @@ import { ResourceData } from "./folderTypes"; import { ResourcePicker } from "./ResourcePicker"; export interface ResourceFormValues { - type: "resource"; + type: "ARTICLE"; embedUrl: string; articleId?: number; title: string; diff --git a/src/containers/MyNdla/Learningpath/components/TextStepForm.tsx b/src/containers/MyNdla/Learningpath/components/TextStepForm.tsx index 4427b5f60..3f560fdf3 100644 --- a/src/containers/MyNdla/Learningpath/components/TextStepForm.tsx +++ b/src/containers/MyNdla/Learningpath/components/TextStepForm.tsx @@ -20,7 +20,7 @@ const TITLE_MAX_LENGTH = 64; const INTRODUCTION_MAX_LENGTH = 250; export interface TextFormValues { - type: "text"; + type: "TEXT"; title: string; introduction: string; description: Descendant[]; diff --git a/src/containers/MyNdla/Learningpath/learningpathFormUtils.ts b/src/containers/MyNdla/Learningpath/learningpathFormUtils.ts index ce07410b1..e737b2588 100644 --- a/src/containers/MyNdla/Learningpath/learningpathFormUtils.ts +++ b/src/containers/MyNdla/Learningpath/learningpathFormUtils.ts @@ -16,14 +16,14 @@ export const toFormValues = ( step?: GQLMyNdlaLearningpathStepFragment, ): FormValues => { switch (type) { - case "text": + case "TEXT": return { - type: "text", + type: "TEXT", title: step?.title ?? "", introduction: step?.introduction ?? "", description: deserializeToRichText(step?.description ?? ""), }; - case "external": + case "EXTERNAL": return { type: type, title: step?.title ?? "", @@ -31,8 +31,8 @@ export const toFormValues = ( url: step?.embedUrl?.url ?? "", shareable: !!step?.embedUrl?.url, }; - case "resource": - case "folder": + case "ARTICLE": + case "FOLDER": return { type: type, title: step?.title ?? "", @@ -45,7 +45,7 @@ export const toFormValues = ( }; export const formValuesToGQLInput = (values: FormValues) => { - if (values.type === "text") { + if (values.type === "TEXT") { return { type: "TEXT", title: values.title, @@ -56,9 +56,9 @@ export const formValuesToGQLInput = (values: FormValues) => { }; } - if (values.type === "external") { + if (values.type === "EXTERNAL") { return { - type: "TEXT", + type: "EXTERNAL", title: values.title, introduction: values.introduction, description: null, @@ -70,9 +70,9 @@ export const formValuesToGQLInput = (values: FormValues) => { }; } - if (values.type === "resource") { + if (values.type === "ARTICLE") { return { - type: "TEXT", + type: "ARTICLE", title: values.title, articleId: values.articleId, introduction: null, @@ -82,7 +82,7 @@ export const formValuesToGQLInput = (values: FormValues) => { } return { - type: "TEXT", + type: "ARTICLE", title: values.title, articleId: values.articleId, introduction: null, diff --git a/src/containers/MyNdla/Learningpath/utils.ts b/src/containers/MyNdla/Learningpath/utils.ts index bcd9885ab..0ed7119ab 100644 --- a/src/containers/MyNdla/Learningpath/utils.ts +++ b/src/containers/MyNdla/Learningpath/utils.ts @@ -7,8 +7,6 @@ */ import config from "../../../config"; -import { GQLMyNdlaLearningpathStepFragment } from "../../../graphqlTypes"; -import { FormValues } from "./types"; export const sharedLearningpathLink = (id: number, language?: string) => { const languageParam = language ? `/${language}` : ""; @@ -22,13 +20,6 @@ export const LEARNINGPATH_SHARED = "UNLISTED"; export const LEARNINGPATH_PRIVATE = "PRIVATE"; export const LEARNINGPATH_READY_FOR_SHARING = "READY_FOR_SHARING"; -export const getFormTypeFromStep = (step?: GQLMyNdlaLearningpathStepFragment): FormValues["type"] => { - if (!step?.resource && !step?.oembed && !step?.embedUrl) return "text"; - if (step?.resource || step.embedUrl?.url.includes("resource")) return "resource"; - if (step?.embedUrl?.embedType === "external") return "external"; - return "text"; -}; - export const learningpathListItemId = (id: number) => `learningpath-${id}`; export const learningpathStepEditButtonId = (id: number) => `edit-button-${id}`; export const learningpathStepCloseButtonId = (id: number) => `close-button-${id}`; diff --git a/src/graphqlTypes.ts b/src/graphqlTypes.ts index 95e0a32bd..fb8fa2737 100644 --- a/src/graphqlTypes.ts +++ b/src/graphqlTypes.ts @@ -218,7 +218,7 @@ export type GQLBaseLearningpathStep = { status: Scalars["String"]["output"]; supportedLanguages: Array; title: Scalars["String"]["output"]; - type: Scalars["String"]["output"]; + type: GQLLearningpathStepType; }; export type GQLBaseLearningpathStepResourceArgs = { @@ -755,7 +755,7 @@ export type GQLLearningpathStep = GQLBaseLearningpathStep & { status: Scalars["String"]["output"]; supportedLanguages: Array; title: Scalars["String"]["output"]; - type: Scalars["String"]["output"]; + type: GQLLearningpathStepType; }; export type GQLLearningpathStepResourceArgs = { @@ -779,7 +779,7 @@ export type GQLLearningpathStepNewInput = { license?: InputMaybe; showTitle: Scalars["Boolean"]["input"]; title: Scalars["String"]["input"]; - type: Scalars["String"]["input"]; + type: GQLLearningpathStepType; }; export type GQLLearningpathStepOembed = { @@ -791,6 +791,8 @@ export type GQLLearningpathStepOembed = { width: Scalars["Int"]["output"]; }; +export type GQLLearningpathStepType = "ARTICLE" | "EXTERNAL" | "TEXT"; + export type GQLLearningpathStepUpdateInput = { articleId?: InputMaybe; copyright?: InputMaybe; @@ -802,7 +804,7 @@ export type GQLLearningpathStepUpdateInput = { revision: Scalars["Int"]["input"]; showTitle?: InputMaybe; title?: InputMaybe; - type?: InputMaybe; + type?: InputMaybe; }; export type GQLLearningpathUpdateInput = { @@ -891,15 +893,18 @@ export type GQLMutation = { addFolder: GQLFolder; addMyNdlaResource: GQLMyNdlaResource; copyLearningpath: GQLMyNdlaLearningpath; + copyMyNdlaResources: Scalars["Boolean"]["output"]; copySharedFolder: GQLFolder; deleteFolder: Scalars["String"]["output"]; deleteLearningpath?: Maybe; deleteLearningpathStep?: Maybe; deleteMyNdlaResource: Scalars["String"]["output"]; + deleteMyNdlaResources: Scalars["Boolean"]["output"]; deletePersonalData: Scalars["Boolean"]["output"]; favoriteSharedFolder: Scalars["String"]["output"]; moveFolder: GQLFolder; moveMyNdlaResource?: Maybe; + moveMyNdlaResources: Scalars["Boolean"]["output"]; newLearningpath: GQLMyNdlaLearningpath; newLearningpathStep: GQLMyNdlaLearningpathStep; sortFolders: GQLSortResult; @@ -937,6 +942,11 @@ export type GQLMutationCopyLearningpathArgs = { params: GQLLearningpathCopyInput; }; +export type GQLMutationCopyMyNdlaResourcesArgs = { + resourceIds: Array; + toFolderId?: InputMaybe; +}; + export type GQLMutationCopySharedFolderArgs = { destinationFolderId?: InputMaybe; folderId: Scalars["String"]["input"]; @@ -960,6 +970,11 @@ export type GQLMutationDeleteMyNdlaResourceArgs = { resourceId: Scalars["String"]["input"]; }; +export type GQLMutationDeleteMyNdlaResourcesArgs = { + folderId?: InputMaybe; + resourceIds: Array; +}; + export type GQLMutationFavoriteSharedFolderArgs = { folderId: Scalars["String"]["input"]; }; @@ -975,6 +990,12 @@ export type GQLMutationMoveMyNdlaResourceArgs = { toFolderId?: InputMaybe; }; +export type GQLMutationMoveMyNdlaResourcesArgs = { + fromFolderId?: InputMaybe; + resourceIds: Array; + toFolderId?: InputMaybe; +}; + export type GQLMutationNewLearningpathArgs = { params: GQLLearningpathNewInput; }; @@ -1159,7 +1180,7 @@ export type GQLMyNdlaLearningpathStep = GQLBaseLearningpathStep & { status: Scalars["String"]["output"]; supportedLanguages: Array; title: Scalars["String"]["output"]; - type: Scalars["String"]["output"]; + type: GQLLearningpathStepType; }; export type GQLMyNdlaLearningpathStepResourceArgs = { @@ -2385,6 +2406,7 @@ type GQLLearningpathContent_LearningpathStep_LearningpathStep_Fragment = { id: number; title: string; introduction?: string; + type: GQLLearningpathStepType; description?: string; showTitle: boolean; opengraph?: { __typename?: "ExternalOpengraph"; title?: string; description?: string; url?: string }; @@ -2609,6 +2631,7 @@ type GQLLearningpathContent_LearningpathStep_MyNdlaLearningpathStep_Fragment = { id: number; title: string; introduction?: string; + type: GQLLearningpathStepType; description?: string; showTitle: boolean; opengraph?: { __typename?: "ExternalOpengraph"; title?: string; description?: string; url?: string }; @@ -3820,6 +3843,7 @@ export type GQLLearningpathNavigation_LearningpathFragment = type GQLLearningpathStep_LearningpathStep_LearningpathStep_Fragment = { __typename?: "LearningpathStep"; id: number; + type: GQLLearningpathStepType; title: string; description?: string; introduction?: string; @@ -4044,6 +4068,7 @@ type GQLLearningpathStep_LearningpathStep_LearningpathStep_Fragment = { type GQLLearningpathStep_LearningpathStep_MyNdlaLearningpathStep_Fragment = { __typename?: "MyNdlaLearningpathStep"; id: number; + type: GQLLearningpathStepType; title: string; description?: string; introduction?: string; @@ -6104,7 +6129,7 @@ export type GQLLearningpathPage_NodeFragment = { }; learningsteps: Array<{ __typename?: "LearningpathStep"; - type: string; + type: GQLLearningpathStepType; id: number; title: string; seqNo: number; @@ -7396,6 +7421,7 @@ export type GQLPreviewLearningpathQuery = { title: string; seqNo: number; introduction?: string; + type: GQLLearningpathStepType; description?: string; showTitle: boolean; opengraph?: { __typename?: "ExternalOpengraph"; title?: string; description?: string; url?: string }; @@ -7723,7 +7749,7 @@ export type GQLMyLearningpathsQuery = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -7797,7 +7823,7 @@ export type GQLMyNdlaLearningpathQuery = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -8380,6 +8406,7 @@ export type GQLPlainLearningpathContainer_LearningpathFragment = { coverphoto?: { __typename?: "ImageMetaInformationV3"; image: { __typename?: "ImageV3"; imageUrl: string } }; learningsteps: Array<{ __typename?: "LearningpathStep"; + type: GQLLearningpathStepType; id: number; title: string; seqNo: number; @@ -8630,6 +8657,7 @@ export type GQLPlainLearningpathPageQuery = { coverphoto?: { __typename?: "ImageMetaInformationV3"; image: { __typename?: "ImageV3"; imageUrl: string } }; learningsteps: Array<{ __typename?: "LearningpathStep"; + type: GQLLearningpathStepType; id: number; title: string; seqNo: number; @@ -9603,7 +9631,7 @@ export type GQLResourcePageQuery = { }; learningsteps: Array<{ __typename?: "LearningpathStep"; - type: string; + type: GQLLearningpathStepType; id: number; title: string; seqNo: number; @@ -10969,7 +10997,7 @@ export type GQLMyNdlaLearningpathStepFragment = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -11034,7 +11062,7 @@ export type GQLMyNdlaLearningpathFragment = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -13868,7 +13896,7 @@ export type GQLUpdateLearningpathStatusMutation = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -13942,7 +13970,7 @@ export type GQLNewLearningpathMutation = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -13999,7 +14027,7 @@ export type GQLNewLearningpathStepMutation = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -14056,7 +14084,7 @@ export type GQLUpdateLearningpathStepMutation = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -14137,7 +14165,7 @@ export type GQLUpdateLearningpathMutation = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; @@ -14212,7 +14240,7 @@ export type GQLCopyLearningpathMutation = { articleId?: number; description?: string; introduction?: string; - type: string; + type: GQLLearningpathStepType; supportedLanguages: Array; showTitle: boolean; revision: number; diff --git a/src/messages/messagesEN.ts b/src/messages/messagesEN.ts index 4d755766c..19ea688cf 100644 --- a/src/messages/messagesEN.ts +++ b/src/messages/messagesEN.ts @@ -286,10 +286,10 @@ const messages = { }, }, options: { - text: "Text written by myself", - resource: "Content from NDLA", - external: "Content from a external website", - folder: "Content from one of my folder in My NDLA", + TEXT: "Text written by myself", + ARTICLE: "Content from NDLA", + EXTERNAL: "Content from a external website", + FOLDER: "Content from one of my folder in My NDLA", }, steps: { next: "Neste: {{ next }}", diff --git a/src/messages/messagesNB.ts b/src/messages/messagesNB.ts index 64691377e..5949247d5 100644 --- a/src/messages/messagesNB.ts +++ b/src/messages/messagesNB.ts @@ -285,10 +285,10 @@ const messages = { }, }, options: { - text: "Tekst jeg har skrevet selv", - resource: "Innhold fra NDLA", - external: "Innhold fra et annet nettsted", - folder: "Innhold fra en av mine mapper i Min NDLA", + TEXT: "Tekst jeg har skrevet selv", + ARTICLE: "Innhold fra NDLA", + EXTERNAL: "Innhold fra et annet nettsted", + FOLDER: "Innhold fra en av mine mapper i Min NDLA", }, steps: { next: "Neste: {{ next }}", diff --git a/src/messages/messagesNN.ts b/src/messages/messagesNN.ts index a126ac586..a20bd1c97 100644 --- a/src/messages/messagesNN.ts +++ b/src/messages/messagesNN.ts @@ -285,10 +285,10 @@ const messages = { }, }, options: { - text: "Tekst eg har skrive sjølv", - resource: "Innhald frå NDLA", - external: "Innhald frå ein annan nettstad", - folder: "Innhald frå ei av mine mapper i Min NDLA", + TEXT: "Tekst eg har skrive sjølv", + ARTICLE: "Innhald frå NDLA", + EXTERNAL: "Innhald frå ein annan nettstad", + FOLDER: "Innhald frå ei av mine mapper i Min NDLA", }, steps: { next: "Neste: {{ next }}", diff --git a/src/messages/messagesSE.ts b/src/messages/messagesSE.ts index 81da4ca7e..6a23b5dc2 100644 --- a/src/messages/messagesSE.ts +++ b/src/messages/messagesSE.ts @@ -286,10 +286,10 @@ const messages = { }, }, options: { - text: "Tekst jeg har skrevet selv", - resource: "Innhold fra NDLA", - external: "Innhold fra et annet nettsted", - folder: "Innhold fra en av mine mapper i Min NDLA", + TEXT: "Tekst jeg har skrevet selv", + ARTICLE: "Innhold fra NDLA", + EXTERNAL: "Innhold fra et annet nettsted", + FOLDER: "Innhold fra en av mine mapper i Min NDLA", }, steps: { next: "Neste: {{ next }}", diff --git a/src/schema.graphql b/src/schema.graphql index be469f138..7a9c331a1 100644 --- a/src/schema.graphql +++ b/src/schema.graphql @@ -173,7 +173,7 @@ interface BaseLearningpathStep { status: String! supportedLanguages: [String!]! title: String! - type: String! + type: LearningpathStepType! } type Breadcrumb { @@ -654,7 +654,7 @@ type LearningpathStep implements BaseLearningpathStep { status: String! supportedLanguages: [String!]! title: String! - type: String! + type: LearningpathStepType! } type LearningpathStepEmbedUrl { @@ -672,7 +672,7 @@ input LearningpathStepNewInput { license: String showTitle: Boolean! title: String! - type: String! + type: LearningpathStepType! } type LearningpathStepOembed { @@ -683,6 +683,12 @@ type LearningpathStepOembed { width: Int! } +enum LearningpathStepType { + ARTICLE + EXTERNAL + TEXT +} + input LearningpathStepUpdateInput { articleId: Int copyright: LearningpathCopyrightInput @@ -694,7 +700,7 @@ input LearningpathStepUpdateInput { revision: Int! showTitle: Boolean title: String - type: String + type: LearningpathStepType } input LearningpathUpdateInput { @@ -780,15 +786,18 @@ type Mutation { tags: [String!] ): MyNdlaResource! copyLearningpath(learningpathId: Int!, params: LearningpathCopyInput!): MyNdlaLearningpath! + copyMyNdlaResources(resourceIds: [String!]!, toFolderId: StringOrNull): Boolean! copySharedFolder(destinationFolderId: String, folderId: String!): Folder! deleteFolder(id: String!): String! deleteLearningpath(id: Int!): Boolean deleteLearningpathStep(learningpathId: Int!, learningstepId: Int!): Boolean deleteMyNdlaResource(folderId: String, resourceId: String!): String! + deleteMyNdlaResources(folderId: StringOrNull, resourceIds: [String!]!): Boolean! deletePersonalData: Boolean! favoriteSharedFolder(folderId: String!): String! moveFolder(id: String!, parentId: StringOrNull): Folder! moveMyNdlaResource(fromFolderId: StringOrNull, id: String!, toFolderId: StringOrNull): Boolean + moveMyNdlaResources(fromFolderId: StringOrNull, resourceIds: [String!]!, toFolderId: StringOrNull): Boolean! newLearningpath(params: LearningpathNewInput!): MyNdlaLearningpath! newLearningpathStep(learningpathId: Int!, params: LearningpathStepNewInput!): MyNdlaLearningpathStep! sortFolders(parentId: String, sortedIds: [String!]!): SortResult! @@ -914,7 +923,7 @@ type MyNdlaLearningpathStep implements BaseLearningpathStep { status: String! supportedLanguages: [String!]! title: String! - type: String! + type: LearningpathStepType! } type MyNdlaPersonalData {