Free Dialogue by Gloria Kempton

goes on for some time in this vein and concludes his argument:
    ".But there is one way in this country in which all men are created equal— there is one human institution that makes a pauper the equal of a Rockefeller, the stupid man the equal of an Einstein, and the ignorant man the equal of any college president. That institution, gentlemen, is a court. It can be the Supreme Court of the United States or the humblest J.P. court in the land, or this honorable court which you serve. Our courts have their faults, as does any human institution, but in this country our courts are the great levelers, and in our courts all men are created equal."
    Often, dialogue in the mainstream and literary story will communicate the theme. Atticus is speaking the larger truth of the story to the other characters and to the reader. There is no way we can read this passage and not think about something that is bigger than our daily lives. Provocative story
    dialogue sometimes makes us squirm, definitely stirs up our gray matter, and often shocks and startles us out of our comfort zones. If you're a mainstream or literary writer, you want to write the kind of dialogue that does this and more.
    uncensored
    The uncensored dialogue in the young adult story is definitely that of the young person, but that doesn't at all mean that it's full of hip-hop words, slang, and weird phrases. I call it uncensored simply because, while adults most often censor themselves when they speak, teenagers haven't yet learned that skill so their dialogue is more raw, edgy, and honest. The reader of the young adult story expects realism, so keep in mind that your teen characters will not be cleaning up their words before they speak them as so many adults do. What's important about the dialogue in the young adult story, just like in any other story, is that it's authentic. Authenticity isn't more important in this story than in any other; it's just that we have to watch our tendency to create characters that all sound like they just stepped off the planet Way Cool—which isn't any more authentic than if we didn't give them a teen voice at all. This kind of over-the-top teen speak sounds no more real than if we weren't to use any slang. Ann Brashares does a good job of writing uncensored dialogue in her young adult novel The Sisterhood of the Traveling Pants. Following is an example from this novel of two teens in conversation, Effie and Lena, neither of whom is from the planet Way Cool, but the dialogue might make some adults roll their eyes, which is what you're after. In this conversation, Effie is trying to get Lena to admit that she's in love with a certain boy. Listen:
    "You are in love with Kostos," Effie accused.
    "No, I'm not." If Lena hadn't known she was in love with Kostos before, she did now. Because she knew what a lie felt like.
    "You are too. And the sad thing is, you are too much of a chicken to do anything about it but mope."
    Lena sank into her covers again. As usual, Effie had summed up her complex, anguished mental state in one sentence.
    "Just admit it," Effie pressed.
    Lena wouldn't. She crossed her arms stubbornly over her pajama top.
    "Okay, don't," Effie said. "I know it's true anyway."
    "Well, you're wrong," Lena snapped babyishly.
    Effie sat down on the bed. Her face was serious now. "Lena, listen to me, okay? We don't have much more time here. You are in love. I've never seen anything like this before. You have to be brave, okay? You have to go and tell Kostos how you feel. I swear to God if you don't, you will regret it for the rest of your cowardly life."
    Lena knew this was all true. Effie had hit the mark so blatantly, Lena didn't even bother refuting it. "But, Ef," she said, her voice belying her raw agony, "what if he doesn't like me back?"
    Effie considered this. Lena waited, expecting, hoping for reassurance. She wanted Effie to say that of course Kostos liked her back. How could he not? But Effie didn't say that.
    Instead she took