Dear Evan Hansen

The Embedding of Lyrics in a Musical Script AN ANALYSIS OF THE APPRAISAL IN THE DIALOGUE AND LYRICS OF THE MUSICAL DEAR EVAN HANSEN

Word count: 27,672

Lisa Van Dousselaere Student number: 01401981

Supervisor: Prof. Dr. Miriam Taverniers

A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master of Linguistics and Literature

Academic year: 2018 - 2019

“Today is going to be a good day and here’s why. Because today at least you’re you and that’s enough”

~ musical Dear Evan Hansen ~

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Abstract

“If [a musical] is so fine, it results in a sum total of a whole, and I first encounter it as a whole”, Lehman Engel stated (1981: 117). Although this depends on many factors, this dissertation is specifically concerned with how lyrics are embedded into a musical script. Using two case studies from the musical Dear Evan Hansen — namely Waving Through a Window and For Forever —, this thesis investigates two things: firstly, it researches the context of the song’s preceding dialogue using Martin & White’s Appraisal theory and compares it to the song itself. Secondly, these results are compared with the dialogue before the song’s reprise to indicate the function of the reprise. For each of the case studies a detailed close analysis reveals the instances of Appraisal in the dialogues as well as the most important themes in the song itself. In the results sections the numbers are discussed, making it possible to look at the most striking results per dialogue and per character. The discussion shows that the songs add to the feelings in the dialogue and have their own function as well. The comparison of dialogues preceding either the main song or the reprise revealed that the context indeed emphasises certain feelings or alters the function of the song. However, the discussion also showed potential for further research as it revealed that part of the meaning is lost when not taking into account the narrative as a whole. Next to that, this thesis also added sarcasm to the Appraisal model, which could be further elaborated on.

Acknowledgements

Dear Lisa Van Dousselaere

TODAY IS GOING TO BE A GOOD DAY AND HERE’S WHY. Because today I get to thank the people who have helped me with this thesis.

Thank you again to my supervisor Prof. Dr. Taverniers for introducing me to Martin and White’s Appraisal theory. Thank you for answering all my questions, for discussing possible analyses and for providing feedback throughout the year.

Thank you to my friends, especially to Jessica, Renée and Astrid, for the support and for proofreading parts of this thesis.

Thank you to my parents and my sister Céline for their support throughout the year. A special thank you to my mama without whose knowledge of Excel I would probably still be counting instances. I can’t wait to finally share the Dear Evan Hansen musical with you all when we see it in Toronto this summer.

And finally, thank you to the creators of Dear Evan Hansen for creating a musical that is so beautiful and so important.

Sincerely, Me

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Table of Contents

Legend ...... xiii

1. Introduction ...... 1 2. Musical ...... 3 2.1 The genre ‘musical’ ...... 3 2.2 Reprise of a song in a musical ...... 5 3. Appraisal theory ...... 6 3.1 Appraisal theory: a general outline ...... 6 3.2 Attitude ...... 6 3.2.1 Affect ...... 7 3.2.2 Judgement ...... 9 3.2.3 Appreciation ...... 11 3.2.4 Final remarks on Attitude ...... 12 3.3 Engagement ...... 14 3.3.1 Contract the dialogic space ...... 15 3.3.2 Open up the dialogic space ...... 16 3.4 Graduation ...... 17 3.4.1 Enrichment ...... 18 3.4.2 Augmenting ...... 18 3.4.3 Mitigation ...... 18 3.4.4 Focus ...... 19 3.5 Sarcasm ...... 19 4. Case studies ...... 25 4.1 Methodology ...... 25 4.2 Case study 1: Waving Through a Window ...... 27 4.2.1 Close reading ...... 27 4.2.1.1 The dialogue preceding Waving Through a Window ...... 27 4.2.1.2 The song Waving Through a Window ...... 39 4.2.1.3 The dialogue preceding Waving Through a Window (reprise #1) ...... 44 4.2.1.4 The dialogue preceding Waving Through a Window (reprise #2) ...... 50 4.2.2 Results ...... 52 4.2.2.1 The dialogue preceding Waving Through a Window ...... 52 4.2.2.2 The dialogue preceding Waving Through a Window (reprise #1) ...... 63

4.2.2.3 The dialogue preceding Waving Through a Window (reprise #2) ...... 70 4.2.3 Discussion ...... 73 4.2.3.1 Relation between the first dialogue and the song ...... 74 4.2.3.2 Relation between the dialogues ...... 75 4.3 Case study 2: For Forever ...... 77 4.3.1 Close reading ...... 77 4.3.1.1 The dialogue preceding For Forever ...... 77 4.3.1.2 The song For Forever ...... 90 4.3.1.3 The dialogue preceding For Forever (reprise) ...... 93 4.3.2 Results ...... 101 4.3.2.1 The dialogue preceding For Forever ...... 101 4.3.2.2 The dialogue preceding For Forever (reprise) ...... 110 4.3.3 Discussion ...... 116 4.3.3.1 Relation between the first dialogue and the song ...... 116 4.3.3.2 Relation between the dialogues ...... 117 5. Conclusion ...... 118 6. References ...... 120 7. Apprendices ...... 122 Appendix 1: Overview of the data selected for the analysis ...... 122 Appendix 2: Data set dialogue preceding WTAW ...... 123 Appendix 3: Data set the song Waving Through a Window ...... 126 Appendix 4: Data set dialogue preceding WTAW #1 ...... 129 Appendix 5: Data set dialogue preceding WTAW #2 ...... 131 Appendix 6: Data set dialogue preceding FF ...... 132 Appendix 7: Data set the song For Forever ...... 136 Appendix 8: Data set dialogue preceding FF #1 ...... 139 Appendix 9: Close reading dialogue preceding WTAW ...... 141 Appendix 10: Close reading dialogue preceding WTAW #1 ...... 145 Appendix 11: Close reading dialogue preceding WTAW #2 ...... 148 Appendix 12: Close reading dialogue preceding FF ...... 149 Appendix 13: Close reading dialogue preceding FF #1 ...... 154 Appendix 14: Legend of the instances of Appraisal in the data sets ...... 157 Appendix 15: Results of the dialogue preceding WTAW ...... 158 Appendix 16: Results of the dialogue preceding WTAW # ...... 161 Appendix 17: Results of the dialogue preceding WTAW #2 ...... 164 x

Appendix 18: Results of the dialogue preceding FF ...... 165 Appendix 19: Results of the dialogue preceding FF#1 ...... 170 Appendix 20: How the musical ends ...... 173

Word count: 27,672

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Legend

Close reading and Results

[NV] Paralinguistic and non-verbal information Ev Evoked == Overlap phenomena Ins Inscribed (i) String number T Total HTC Hard to classify Green Positive value Red Negative value

[subtype] ‘instance of Attitude’ + ‘positive Attitude’ - ‘negative Attitude’ Neg. ‘grammatically negated Attitude’ Sarc. ‘sarcastic Attitude’

Affect: +/- hap ‘Affect: un/happiness’ Affect: +/- sec ‘Affect: in/security’ Affect: +/- sat ‘Affect: dis/satisfaction’ Affect: des ‘Affect: desire’ Judgement: +/- norm ‘Judgement: Normality’ Judgement: +/- cap ‘Judgement: Capacity’ Judgement: +/- ten ‘Judgement: Tenacity’ Judgement: +/- ver ‘Judgement: Veracity’ Judgement: +/- prop ‘Judgement: Propriety’ Appreciation: +/- reac ‘Appreciation: Reaction’ Appreciation: +/- comp ‘Appreciation: Composition’ Appreciation: +/- val ‘Appreciation: Valuation’

[subtype] ‘instance of Engagement’ Sarc. ‘sarcastic Engagement’

[subtype] ‘instance of Graduation’

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1. Introduction

Some people love musicals, some people hate them. Some people become dedicated fans, some people simply enjoy them. But one thing is sure: if people keep coming back to see it, the musical must be doing something right. With its original production on Broadway, a tour across America, an international production in Toronto and an upcoming production on West End in London, Dear Evan Hansen must be one of those shows people want to see. After its premiere the musical was described as one “for anyone with a beating heart” (New York Times) that “sweeps you up in raw emotion like no other show on Broadway” (Time Out NY). The rave reviews led to winning the 2017 Tony Award for Best Musical, among other awards. The musical was written by Steven Levenson, the book writer, and by Benj Pasek and Justin Paul, who collaborated for the music and lyrics of Dear Evan Hansen. Together they created a musical about the struggle to connect, especially in times of social media: 17-years-old Evan Hansen has severe social anxiety and is told to write self-addressed letters explaining why “today is going to be a good day”. Despite good intentions his first day at school does not go well and his letter is an exhaust valve, explaining how “this wasn’t an amazing day after all”. Because of a misunderstanding Connor Murphy, a fellow student, ends up taking the letter from Evan and when he commits suicide later that day, Evan’s self-addressed letter is assumed to be a suicide note from Connor to Evan. Confronted with Connor’s grieving family, Evan panics and he fabricates a friendship with Connor to help them grieve. Suddenly he finds himself belonging to Connor’s family: for the first time Evan fits in and is able to connect with people. His fabricated friendship with Connor is the start of many positive initiatives, such as the Connor Project, a student group dedicated to showing people that everyone should matter. But eventually Evan gets caught in this web of lies and he is forced to make a decision about whether to keep lying or to tell the truth and lose everything he had always wanted.

This thesis is concerned with the embedding of lyrics in a musical script. In other words, it will not take into account the actors’ performances, the choreography or any other part of the musical, except for what is written down in the musical script. A script is difficult to define as it is “written language designed to sound like spoken language” (Davis 2016: 3). It does not completely fit in one of the categories as spoken language is usually unrevised, while written language gives the opportunity to restate and rework (Davis 2016: 2). While a script can indeed be reworked, the corrections are not meant to take away from the spontaneity a conversation would convey. Therefore, Herman (2008: 6) states, dramatists have to use “the ‘rules’ underlying the orderly and meaningful exchange of speech

in everyday contexts as the resource” to create “the illusion of real-life conversation”. That is why the data set will show characteristics of spoken language, although it is written down in a script.

To sketch an image of how lyrics are embedded into the musical script, this thesis will use Martin & White’s Appraisal theory. Usually songs are added when the dramatic tension in the musical is very high (Hicks 2015: 78) as it is the character’s way to express him- or herself. Therefore, Martin & White’s Appraisal theory can indicate the context of the song as it is concerned with how social relationships are negotiated through sharing feelings about people and things (Martin & Rose 2003: 22). More specifically, this thesis will investigate two things: firstly, this thesis will research the relation between the song and its preceding dialogue by using Martin & White’s Appraisal theory to analyse the context. Secondly, this thesis will also compare the dialogue before the song with the dialogue before the song’s reprise, by again focussing on the instances of Appraisal. By analysing the differences and similarities in use of Appraisal, this thesis aims to explain the relation between lyrics and dialogue as well as the function of the reprise.

The following section will first explain the concept ‘musical’, focussing on how script and songs work together and then the term ‘reprise’. Section 3 will introduce Martin and White’s Appraisal theory. First, it will give an overview of each of the subcategories, namely Attitude (section 3.1), Engagement (section 3.2) and Graduation (section 3.3). Then, in section 3.4, Sarcasm is added to the Appraisal model. Finally, in section 4, I will be presenting the methodology (4.1) as well as 2 case studies: on the one hand Waving Through a Window (4.2) and on the other hand For Forever (4.3). For each of the case studies, I will present the close reading for each data set, as well as discuss the number of instances in the section on Results. Finally, in the discussion of each case study I will be formulating an answer to the research questions.

2. Musical

2.1 The genre ‘musical’

The genre ‘musical’ is a known genre, where part of the plot is communicated to the audience not only with dialogue, but also via dance and songs. At the slightest provocation musical actors will start singing or dancing to move the plot along (Taylor & Symonds 2014: 23). From a strictly technical position a musical exists of five parts: the music and lyrics, the book, the choreography, the staging and the physical production (this is, for instance, the sets and costumes) (Kenrick 2010: 15). More and more the focus has been put on integrating each of those as part of the storytelling. The clearest examples of blending are the sung-through musicals where the lyrics and book are no longer separated, and dance-based movies, where choreography and staging have become one (Kenrick 2010: 15). Even without it becoming completely synonymous, it is a known fact that musicals count on their audiences to accept the actors to break into a song or to start dancing in the middle of the performance (Taylor & Symonds 2014: 23).

For the form of a musical, Taylor & Symonds (2014: 10) refer back to Aristotle’s structure which had an influential role in the form of the Western literature. Only Aristotle’s work on Tragedy survived, which in content is more unlikely in the twentieth century as all characters die. However, the form remained in narratives (Taylor & Symonds 2014: 13). Shortly summarized, Aristotle explains that a story exists of three parts: a beginning, middle and end. In the story a relatable central character experiences the consequences of a human action, which causes the audience to reflect and to find a cathartic release (Taylor & Symonds 2014: 12). For musical theatre that structure was moderated: typically a musical will start with the protagonist wanting something. That will develop throughout the happenings in the narrative and at the end it will be resolved (Taylor & Symonds 2014: 13). This desire is uttered in a so called ‘I Want’ song, a song that will let the audience know what the protagonist wants and that prepares the audience to expect a (happy or unfortunate) resolution to that desire (Taylor & Symonds 2014: 13).

However, although the ‘I Want’ song will often set the scene for what is to follow, it is mistake to say that the book is meant to guide the audience from song to song. This relation is often misunderstood:

“Many people view the book almost as filler, the stuff characters say while we in the audience are waiting for the next musical number to begin. Nothing, of course, could be further from the truth. The book is the ground from which all else in a musical grows, giving the songs context, meaning, and emotional weight” (Levenson 2017: 18)

Just as this dissertation wants to show, there is a reason for a certain dialogue to precede a certain song, and each part of a musical has its purpose. Lehman Engel, an American composer and conductor of Broadway musicals, among others, described the perfect balance between the book of the musical and its songs in Words with Music: The Broadway Musical Libretto. He notes:

“If I, at least an experienced lifelong musician, fail to attend to music because it belongs so well within the whole, how was the critic able to function so consciously in all these other areas? It’s a great deal like the critic being an umpire at a baseball game. Each ball, strike, run, etc., is judged and immediately tabulated. A very fine musical show is not like that because, if it is so fine, it results in a sum total of a whole, and I first encounter it as a whole. If I think highly of a show, I see it again and again in order to divorce myself from the overall experience and examine the separate elements.” (Engel 1981: 117)

For him, a show does not work when he is able to detect the separate parts. That is, for instance, what makes the relation between songs and dialogues complicated: songs also have to serve their purpose within the plot and cannot be an interruption in the narrative. Songs have multiple functions within a musical: not only should they characterize the characters, they should also charm or amuse the audience and add to the action and the plot (Engel 1981: 120). Adding to the plot means that it cannot simply be a repetition of what has been said in the dialogue (Hicks 2015: 78). Thereby it is important to note that it is often harder to understand sung words than dialogue (Hicks 2015: 78). That is why, for a good piece of music, it is important to stick to one topic to make sure that the audience can take away the message the song was supposed to bring. More important for this thesis is the fact that songs are usually situated where the dramatic tension is very high (Hicks 2015: 78). Those moments will therefore often coincide with the most important steps on the protagonist’s journey within the narrative (Taylor & Symonds 2014: 22). The songs in the musical are the characters’ way of expressing themselves (Taylor & Symonds 2014: 14) and the character who is singing should therefore be recognisable in the song (Engel 1981: 107). The songs should reflect who the character is, rather than give a general representation of just any character (Engel 1981: 121). Expected is then that the dialogues preceding the song and the song itself are filled with emotion.

2.2 Reprise of a song in a musical

A musical can also reprise earlier songs. Those songs have the same title and tune as the song that is repeated, but the lyrics can be — but do not have to be — different. However, the strength of a reprise is its recognisability (Frankel 2009: 107). Because of the feeling of “seeing once more a dear old friend” (Engel 1981: 138), the reprise can add meaning for the audience. Often reprises demonstrate how an earlier expression works in another context, showing how it connects (Swain 2002: 322). Thus, as was the case with the regular songs in the musical, the reprises also have to add to the plot. Repeating a song with no reason other than the fact that it is a beautiful song, will stop the narrative. It has to have its own function within the musical (Frankel 2009: 107).

Reprises can be executed in three ways (Frankel 2009: 108): it may be sung by the same character, by a different character(s) or via linking. Having a different character (or several characters) sing the reprise dramatizes how characters move toward one another and will often involve irony towards those movements. Finally, a song can also be reprised through linking. This is, for instance, the case when only the tunes of the songs are reprised (i.e. the underscoring).

3. Appraisal theory 3.1 Appraisal theory: a general outline

Martin & White’s Appraisal theory is part of the Systemic Language Framework (SFL). Within the framework’s interpersonal component — and thus concerned with people’s interaction (Martin & White 2005: 7) —, Appraisal are those “semantic resources used to negotiate emotions, judgments, and valuation, alongside resources for amplifying and engaging with these evaluations” (Martin 2000: 145). The Appraisal model counts three subcategories, namely Attitude, Engagement and Graduation (figure 1):

Attitude

The Appraisal model Engagement

Graduation

Figure 1 Overview of the categories of the Appraisal model

Each of these categories will be further elaborated on in the following sections. However, in short it can be stated that Attitude labels everything related to feelings (Martin & Rose 2003: 22), Engagement is concerned with the speaker’s stance towards other voices and opinions (Martin & White 2005: 94) and Graduation covers all instances amplifying Attitudes (Martin & Rose 2003: 22).

3.2 Attitude

Within the Appraisal model the first category Attitude describes different kinds of feelings (Martin & Rose 2003: 22). The category is again divided in three subcategories, namely Affect, Judgement and Appreciation:

Affect

Attitude Judgement

Appreciation

Figure 2 Types of Attitude (based on Martin & White 2005: 42)

These different kind of feelings related to each category are emotional reactions (Martin & White 2005: 35) or emotional states (Eggins & Slade 1997: 129) within the first subtype Affect, feelings towards one’s behaviour for the second subtype Judgement and finally evaluation towards reality (Eggins & Slade 1997: 125) in the final subtype Appreciation. For each of these subtypes the following table gives some examples:

Affect Happy, anxious Judgement Weak, honest Appreciation Captivating, ugly

Figure 3 Examples for each category of Attitude (Martin & White 2005: 49, 53 and 56)

The following sections will closely look at the three subcategories Affect (section 3.2.1), Judgement (section 3.2.2) and Appreciation (section 3.2.2) as well as add three remarks on Attitude in general, namely the grammatically negated instances, the terms Evoked and Inscribed and the use of Prosody.

3.2.1 Affect

The central question in the first subcategory of Attitude is “HOW DID/DO YOU FEEL ABOUT IT?” (Eggins & Slade 1997: 129). As stated, this type is concerned with emotional reactions (Martin & White 2005: 35) or emotional states (Eggins & Slade 1997: 129). This can be expressed in different ways: through verbs of emotion (cf. to hate), through adverbs (cf. sadly), through adjectives of emotion (cf. happy) or through nouns (cf. the fear) (White 2001). To classify Affect, Martin & White (2005: 46-49) use six factors. Three of those will be used in the analysis and will therefore be explained in detail. The other half will be addressed briefly for completeness.

The first factor distinguishes positive from negative utterances (Martin & White 2005: 46):

The captain was happy (positive Affect) The captain was sad (negative Affect) (Martin & White 2005: 47) (my emphasis)

These examples illustrate the difference between what should be labelled as a positive emotion, namely happy, and what should be labelled as a negative emotion, namely sad.

A second factor is the distinction between realis, involving a reaction, and irrealis, involving intention (Martin & White 2005: 48). An example of this are the following sentences:

The boy liked the present (realis) The boy wanted the present (irrealis) (Martin 2000: 150) (my emphasis)

The difference between the two sentences is the realisation of what is described: in realis the feelings are concerned with a present existing state, while irrealis deals with feelings applying to future states (Martin 2000: 150). Such future states can be, for example, fear or desire (Martin & White 2005: 48). The first subcategory of Affect the analysis will take into account is the one of Desire. An utterance of Desire is neither positive nor negative as it is set in the future.

Added to this category of Desire, is the next factor, which recognises three classes of Affect indicating realis Martin & White (2005: 49). Those subtypes are labelled un/happiness, in/security and dis/satisfaction. Each of these subtypes is further subdivided as shown in the following figure:

desire Unhappiness: misery

Unhappiness: antipathy un/happiness Happiness: cheer

Happiness: affection

Insecurity: disquiet

Insecurity: surprise Affect in/security Security: confidence

Security: trust

Dissatisfaction: ennui

Dissatisfaction: displeasure dis/satisfaction Satisfaction: interest

Satisfaction: pleasure Figure 4 Kinds of Affect (based on Martin & White 2005: 30-31 + the subcategory of Desire)

This dissertation will be limited to the first subcategories of un/happiness, in/security and dis/satisfaction as I believe these categories are broader than the next classification implies. The name of each category already hints at the kind of instances, however in general it can be stated that the category of un/happiness deals with people’s mood, in/security deals with feelings related to surroundings and dis/satisfaction with engagement in activities. The following table provides some clear examples of each category:

Un/happiness Positive: happiness, love Negative: sadness, hate In/security Positive: confidence, trust Negative: Anxiety, fear Dis/satisfaction Positive: curiosity, respect Negative: Ennui, displeasure

Figure 5 Examples for each category of Affect (Martin & White 2005: 49 - 50)

As stated, Martin & White (2005) distinguish more than the factors introducing polarity, Desire and the subcategories. These other three factors will not be used in the analysis, but they are mentioned for completeness. First, Martin & White (2005) made a distinction between a surge of emotion (for example the boy laughed) and an ongoing mental state (for example the boy liked the present). Secondly, they indicate that Affect can be both a reaction to something external (as in the boy liked the teacher) or an undirected reaction (as in the boy was happy). And thirdly, they introduce a scale to grade the feelings, showing the difference between the boy liked the present and the boy adored the present.

3.2.2 Judgement

The central question in the second subcategory of Attitude is “HOW WOULD YOU JUDGE THAT BEHAVIOUR?” (Eggins and Slade 1997: 130). Judgement can be aimed at people or at people’s behaviour (Martin & White 2005: 52), but White (2001) states that this concept has to be interpreted very broadly: people can react on other’s sayings, deeds, actions, believes or motivations. Martin & White (2005: 53) divide this category in two subcategories — Judgement of Esteem and Judgement of Sanction — which are then again subdivided (Figure 6).

Normality

Judgement of Esteem Capacity

Tenacity Judgement

Propriety Judgement of Sanction Veracity

Figure 6 Subcategories of Judgement (based on Martin & White 2005: 53)

Each category can be either positive or negative, as was the case for Affect as well. The first major category is Judgement of Esteem, either admiring (positive) or criticising (negative) someone’s behaviour. Martin & Rose (2003: 28) label this category as personal Judgement. Judgement of Sanction, on the other hand, will either praise (positive) or condemn (negative) someone’s behaviour. For Martin & Rose (2003: 28) this category is concerned with moral Judgement.

As stated, each category can again be subdivided. For Judgement of Esteem these subcategories are Normality, Capacity and Tenacity (Martin & White 2005: 53). Each category answers specific questions about someone’s behaviour. For Normality these questions are “how usual or destined” (Eggins & Slade 1997: 133) and “how special” (Martin & White 2005: 53). For Capacity, the second category, the question is “how capable” (Martin & White 2005: 53). And finally, the category Tenacity, answers on “how strongly committed” (Eggins & Slade 1997: 133) and “how resolute or dependable” (Martin & White 2005: 52-53). The following figure shows some examples for each category, with the positive instances admiring someone’s behaviour and the negative ones criticising:

Normality Positive: lucky, stable, in Negative: ordinary, unpredictable, dated Capacity Positive: mature, witty, sensible Negative: childish, dull, naïve Tenacity Positive: brave, careful, reliable Negative: cowardly, hasty, unreliable

Figure 7 Examples for each category of Judgement: social esteem (Martin & White 2005: 53)

The second major category is Judgement of Sanction with its subcategories Veracity and Propriety. Veracity answers the question “how honest” (Martin & White 2005: 53) and is thus concerned with truth. Propriety, on the other hand, is concerned with ethics, answering the question “How far beyond reproach?” (Martin & White 2005: 53). The positive examples in the figure below are praising, while the negative instances are condemning:

Veracity Positive: truthful, honest, tactful Negative: dishonest, deceitful, blabbermouth Propriety Positive: kind, fair, generous Negative: mean, unfair, greedy

Figure 8 Examples for each category of Judgement: social sanction (Martin & White 2005: 53)

3.2.3 Appreciation

The central question in the third category of Attitude is “WHAT DO/DID YOU THINK OF THAT?” (Eggins & Slade 1997: 129). This question introduces evaluation of things and processes, as well as evaluation of people when they are objectified (Eggins & Slade 1997: 126). This category is also subdivided in subcategories, namely Reaction, Composition and Valuation (Martin & White 2005: 57):

Impact Reaction Quality

Appreciation Balance Composition Complexity Valuation

Figure 9 Subtypes of Appreciation (based on Martin & White 2005: 56)

These subcategories also answer certain questions. Within the category of Reaction instances answer the question “How good/bad did you find it?” (Eggins & Slade 1997: 127) and are thus related to the speaker’s interpersonal response (Eggins & Slade 1997: 128). The category of Composition is concerned with the question “How did it go together?” (Eggins & Slade 1997: 128), commenting on overall texture (Eggins & Slade 1997: 128). And finally, the category of Valuation answers the question 11

“Was it worthwhile?” (Martin & White 2005: 56). Both Reaction and Composition are again subdivided (figure 9), but these will not be taken into account for the analysis, as I believe the categories are broader than these types imply. Figure 10 gives an overview of some examples for each category, again divided in positive and negative utterances.

Reaction Positive: captivating, moving Negative: boring, predictable Composition Positive: harmonious, logical Negative: irregular, disorganised Valuation Positive: creative, genuine Negative: dated, common

Figure 10 Examples for each category of Appreciation (Martin & White 2005: 56)

3.2.4 Final remarks on Attitude

As stated, each of the categories — with the exception of Desire within Affect — can be either positive or negative. However, sometimes these are grammatically negated, which nuances the meaning. In their analyses Martin & White (2005: 73) mark this distinction between, for instance, “sad” labelled as [Affect: -hap] and “not happy” labelled as [Affect: neg. +hap]. The addition of ‘neg.’ indicates grammatical negation, and thus differentiates negative feelings from positive feelings that were negated (Martin & White 2005: 73).

For each of the categories there is also an important distinction between Evoked and Inscribed. All examples that were given in this section so far, are instances of Inscribed Appraisal. The difference is the evaluative lexis: the examples listed above directly describe a mental state and are thus examples of Inscribed Appraisal. Evoked Appraisal, on the other hand, is implicitly realised (Martin & Rose 2003: 26). An example of this is:

The crowd of people broke into small groups and whispered to each other as they drifted away. Jenny stayed until the ambulance drove away. She watched its flashing lights and listened to its wailing siren fade into the night air (Macken-Horarik 2003: 299).

In this example Jenny’s feelings are described without using evaluative lexis (Macken-Horarik 2003: 295). The feeling of sadness is evoked through the way Jenny’s behaviour is described and what the reader associates with that behaviour. Both categories can be used together as they are “into a kind of dance throughout the text creating a larger semantic space which itself becomes evaluative” (Macken-Horarik 2003: 295). In other words, the context, including Inscribed Attitude, can help to label Evoked Attitude (Martin & Rose (2003: 27). This also shows the subjectivity of an analysis using the Appraisal model: as Martin & White (2005: 206) note, different people will read the same text differently. The methodology will further elaborate on the subjectivity of the analysis.

Finally, there is also Prosody. Lemke (1998: 47) defines this as “realizations that tend to be distributed through the clause and across clause and sentence boundaries”. This is again a nuance for the analysis: a word or sentence that can be labelled both positively or negatively, can be decided upon by the context. The following example illustrates Prosody within a sentence:

a. It is an impoverished education system in which teachers have relinquished their role as expert knowers (Hood 2010: 142). b. It is an innovative education system in which teachers have relinquished their role as expert knowers (Hood 2010: 142).

Apart from the adjective preceding the noun “education system” both sentences are the same. However, it is that adjective that makes the labelling different: an “impoverished” education system is Inscribed negative Appreciation, while an “innovative” education system is Inscribed positive Appreciation. This is why “teachers have relinquished their role as expert knowers” in sentence a is read to be negative, while that same sentence in b is read positively (Hood 2010: 142).

Prosody does not have to follow the boundaries of a clause or a sentence. It can have its effect in larger parts of the text as well:

His methodology showed certain other refinements. First, he excluded overseas students. Such students tend to be older than average and also to fare worse academically (Woodley, 1979), thus influencing any age/performance relationship. Secondly, he used two measures of performance; the proportion leaving without obtaining a degree and the degree results of those taking final examinations. Finally, he weighted the degree class obtained according to its rarity value in each faculty (Hood 2006: 45).

The word “refinements” colours every underlined part in the paragraph, and gives it a positive value (Hood 2006: 45). If the same paragraph would start with a different sentence, those same words could be labelled negatively:

There are certain problems associated with his methodology. First, he excluded overseas students. Such students tend to be older than average and also to fare worse academically (Woodley, 1979), thus influencing any age/performance relationship. Secondly, he used two measures of performance; the proportion leaving without obtaining a degree and the degree results of those taking final examinations. Finally, he weighted the degree class obtained according to its rarity value in each faculty (Hood 2006: 46).

By using the word “problems”, it is made clear that each of the following arguments will be one of those problems, and thus be negative (Hood 2006: 45-46). In conclusion, Prosody is the influence of one part of the text on another.

3.3 Engagement

Engagement is the category talking into account the source of the evaluations (Martin & Rose 2003: 44). It is defined as “all those locutions which provide the means of the authorial voice to position itself to, and hence to ‘engage’ with, the other voices and alternative positions construed as being in play in the current communicative context” (Martin & White 2005: 45). In short, this category will be concerned with “Who is evaluating?” and “To what degree is the speaker committed to what is said?” (Martin & Rose 2003: 44). There are different ways to engage with one another, and Martin & White (2005: 97) divide the instances in two categories:

Contract the dialogic space Engagement

Open up the dialogic space

Figure 11 Subtypes of Engagement (based on Martin & White 2005: 97-98)

On the one hand, there are the instances where alternative opinions are excluded: Contracting the dialogic space. On the other hand, there is Opening up the dialogic space, considering different views. These categories will be further elaborated on in the following sections.

3.3.1 Contract the dialogic space

Contract the dialogic space is the first subcategory of Engagement, which is again subdivided into two categories as seen in Figure 12. The difference between the two categories is the stance the speaker takes towards an external voice. On the one hand, there is the subcategory Disclaim, which presents the external voice being wrong, while, on the other hand, Proclaim marks the external voice as telling the truth (Martin & White 2005: 103). In both cases alternative opinions are not taken into account.

Deny Disclaim Counter Contract the dialogic space Concur

Proclaim Endorse

Pronounce

Figure 12 Subtypes of Contracting the dialogic space (based on Martin & White 2005: 117-135)

The category of Disclaim is again subdivided into Deny and Counter. In the first category the speaker negates the opinion of the external voice. An example is:

I don’t need to give up potatoes to lose weight (Martin & White 2005: 97) (my emphasis)

The opinion of the external voice is stated (i.e. “you need to give up potatoes to lose weight”), but the speaker denies this to be true (Martin & White 2005: 120). The category of Counter is similar, but apart from rejecting, the speaker will also add his or her opinion:

Even though we are getting divorced, Bruce and I are still best friends (Martin & White 2005: 120) (my emphasis)

In this example, the speaker rejects the expectation that a divorced couple cannot be friendly with one another, stating that “Bruce and I are still best friends”. Other examples are given in figure 13:

Deny No, didn’t, never Counter Even though, but, surprisingly

Figure 13 Examples for each category of Engagement: Contract the dialogic space (Disclaim)(Martin & White 2005: 118-122)

The second category, Proclaim, also Contracts the dialogical space, but by agreeing with an external voice, rejecting any other opinion (Martin & White 2005: 121). The category is subdivided into three categories, namely Concur, Endorse and Pronounce. The first category shows agreement or indicates that there is alignment with the audience (Martin & White 2005: 122). Endorse, the second category, indicates that the speaker aligns himself with an authorial voice (Martin & White 2005: 127). And finally, there is the category of Pronounce, where the speaker claims with authority that one position is the right one: there may be other opinions, but those are not being negotiated (Martin & White 2005: 129). The following figure again shows a few examples per category:

Concur Naturally, of course, obviously Endorse I contend, there can be no doubt that, the truth of the matter is Pronounce X has demonstrated that, as X has shown

Figure 14 Examples for each category of Engagement: Contract the dialogic space (Proclaim) (Martin & White 2005: 98)

3.3.2 Open up the dialogic space

Next to Contracting the dialogic space, there is the category Opening up the dialogic space. In this category alternative opinions are considered. The category can again be subdivided into two types, namely Entertain and Attribute:

Entertain Open up the dialogic Acknowledge space Attributive Distance

Figure 15 Subtypes of Opening up the dialogic space (based on Martin & White 2005: 104-117)

Utterances indicating the speaker’s subjectivity or uncertain opinions are labelled within the category of Entertain (Martin & White 2005: 105). Statements are then positioned as one possible opinion, Opening up for alternative views (Martin & White 2005: 105). The second category, Attributive, is concerned with the opinion of an external voice (Martin & White 2005: 111). Within this category there

are again 2 subtypes: Acknowledge, where an opinion is acknowledged but the speaker does not take a clear stance towards what is being said, and Distance, where the speaker explicitly distances himself from the statement (Martin & White 2005: 112-113). The next figure shows some examples:

Entertain It seems, probably, maybe Attributive (Acknowledge) X said, X believes (Distance) X claims that, it’s rumoured that

Figure 16 Examples for each category of Engagement: Open up the dialogic space (Martin & White 2005: 98)

3.4 Graduation

Graduation adds to the other categories, as it can grade someone’s attitude towards people, things and events (Eggins & Slade 1997: 133). According to Martin & White (2005: 137) the category can be subdivided into Focus when the instance is non-scalable, and Force when it is scalable. However, when labelling the instances, this division was not always specific. Therefore, this paper will use the division Eggins and Slade (1997: 133-137) propose, dividing the instances of Graduation in Enrichment, Augmenting and Mitigation. As a musical script is not just written text, but is also meant to mirror spoken language, their system to analyse casual conversation proved to be easier to apply to the data set. Finally, a fourth category was added, namely Focus, which will be explained in section 3.4.4.

Enrichment

Augmenting Graduation Mitigation

Focus

Figure 17 Types of Graduation (Eggins & Slade 1997: 133-137) + Focus

3.4.1 Enrichment

Enrichment is concerned with word choice: it adds grading because a coloured word is used instead of a more neutral word to say the same. This can, for instance, be seen in the expression he killed them at cards, chosen over he won at cards (Eggins & Slade 1997: 134). Whereas both sentences mean the same, “killed them” also adds grading to the utterance. Other options for Enrichment can be verbs that also indicate manner (such as yapping, which shows Judgement for talking too much) and the addition of comparative elements as in to play like shit or to run like a bat our of hell (Eggins & Slade 1997: 134).

3.4.2 Augmenting

The second category, Augmenting, are all instances which amplify the attitudinal meaning (Eggins & Slade 1997: 134). There are different ways to intensify an utterance: on the one hand adverbs such as “really” can intensify an utterance that already had an evaluative meaning. An example is the sentence he is really beautiful. On the other hand there is repetition which can add evaluative meaning to an otherwise neutral utterance, as in he won and won and won at cards (Eggins & Slade 1997: 134). Another way of Augmenting is quantifying a degree: not only words as heaps and much can add quantification, but also pronominal expressions are often used as a hyperbole. Examples are all and everyone (Eggins & Slade 1997: 135-136).

3.4.3 Mitigation

The final category following Eggins & Slade’s (1997) example, is Mitigation. This is the opposite of Augmenting, as it downplays an expression (Eggins & Slade 1997: 136). Apart from the clear cases such as just, hardly and scarcely, Eggins & Slade also cover some utterances that are more common in casual conversations:

You only have to do … One of them is good actually. (Eggins & Slade 1997: 136) (my emphasis)

In formal written text those structure will be avoided. However, in spoken conversations these are common. Finally, this category also includes vague language to downplay an expression, such as sort of and stuff (Eggins & Slade 1997: 136).

3.4.4 Focus

Finally, I added the category of Focus to Eggins & Slade’s system. Especially for spoken language, sentences such as the following are common:

It is just hard to explain. Could you please stop? (my examples)

Despite the instances adding evaluation it seemed impossible to label them within the categories of Enrichment, Augmenting or Mitigation: in the first sentence the word choice did not add evaluation (Enrichment), it being “hard to explain” was not amplified (Augmenting) and neither did it downplay the difficulties of explaining (Mitigation). The adverb “just”, however, does add evaluation as it focusses on the speaker’s annoyance over not being able to explain. In the second sentence “please” is used to focus on the fact that the speaker wants the addressee to stop. Therefore, I labelled these instances in a different category, namely Focus.

3.5 Sarcasm

For the analysis it was also important to be able to mark sarcasm as the data set of the musical Dear Evan Hansen shows many sarcastic utterances. However, Martin & White’s Appraisal theory does not cover sarcasm in detail: it is only briefly mentioned in some data sets explaining how sarcasm is “adding bite to Edna’s blast” (Martin & White 2005: 76), how it creates emotional alienation (Martin & White 2005: 229) or how the correct interpretation of the sarcastic utterance can be found through prosody with earlier negative Judgement (Martin & White 2005: 243). So, although the theory acknowledges sarcasm in its close readings, the use is never explicitly labelled in the analyses. The aim of this section of the thesis is thus to add sarcasm to the Appraisal model, including it into the analyses.

The reason why sarcasm fits into the Appraisal model is because it covers an interpersonal process: the incongruity between what is said and what is meant complicates the interpretation of the utterance as the intended meaning has to be understood by the speaker, but also by the addressee. Appraisal deals with “semantic resources used to negotiate emotions, judgments, and valuation, alongside resources for amplifying and engaging with these evaluations” (Martin 2000: 145), which immediately links it to sarcasm. Although many people have a general sense of what sarcasm looks like, the term in itself is difficult to define. Especially its relation with irony is a point of discussion as it is not generally agreed upon if the terms can be used interchangeably. However, because of the small 19

corpus of this thesis — especially only taking into account the instances concerned with sarcasm — and the focus of this thesis, there is no intention to add to this discussion: this thesis will treat sarcasm as being interchangeable with irony.

One theory to analyse Sarcasm is Elisabeth Camp’s (2011: 606) who distinguishes four kinds of sarcasm: propositional, lexical, ‘like’-prefixed and illocutionary sarcasm. For the data set only the first category of propositional sarcasm is to be discussed in detail as no instances of the other categories can be found. However, for completeness, I will first discuss the other three categories, be it briefly.

(1) Because George has turned out to be such a diplomat, we’ve decided to transfer him to Payroll, where he’ll do less damage. (2) Like I’ve talked to George in weeks. (3) [doesn’t hold the door open] Thanks for holding the door. (Camp 2012: 611, 614, 618)

The first kind of sarcasm will only partially invert the meaning. This lexical sarcasm can be found in sentence (1). The first part “because George has turned out to be such a diplomat”, implies that George has received a promotion for behaving like a diplomat. However, in combination with the rest of the sentence, it becomes clear that it was meant sarcastically as he was given a new role because of the opposite reasons. Another kind of sarcasm is ‘like’-prefixed sarcasm, as in sentence (2), which will only be found in combination with a declarative sentence. The conjunction ‘like’ leaves no doubt that the utterance is meant sarcastically. Finally, sentence (3) is an example of illocutionary sarcasm. In other circumstances the uttered sentence could be sincere. However, in the circumstances where someone fails to hold the door open, this sentence becomes a sarcastic comment on the addressee’s behaviour.

The last kind of sarcasm, and the most important one for this thesis is propositional sarcasm. It is the most clear-cut kind of sarcasm: the speaker says something that could pass as a sincere utterance, while it is meant sarcastically. Some examples of this are:

(4) He’s a fine friend. (5) She’s the Taj Mahal. (Camp 2012: 607)

Camp explains it like this:

This proposition P evokes a situation at one extreme of an evaluative scale, typically the positive end; by pretending to assert P, the speaker implicates the contrary of P, Q, along with a correlative evaluative attitude toward Q (Camp 2012: 607).

In other words, in sentence (4), by saying that “He’s a fine friend” — a positive evaluation of him as a friend —, the speaker implies that he is the opposite: a bad friend, and thus a negative evaluation of him as a friend. Sentence (5) is more complicated as it contains a metaphor that equates ‘she’ to the Taj Mahal. What is being said cannot be taken literally, although it does evoke the image of ‘she’ being as beautiful as the Taj Mahal. Just as the preceding example this can be put on an evaluative scale, one that indicates ‘being as beautiful as the Taj Mahal’: whereas the Taj Mahal is considered to be extremely beautiful, the sarcasm puts ‘she’ on the opposite side of that scale. The proposition, however, does not always have to be the opposite of what is meant: it can also be sincere. An example of this is sentence (6):

(6) a: I’m sorry Aunt Louisa is such a bother. b: Oh, she never stays for more than a month at a time, and she always confines her three cats to the upper two floors of our house. (Camp 2012: 608)

Here, speaker b is not saying the opposite of what (s)he means: everything (s)he says is genuine. However, sentence (6) still evokes a scale that presents the sarcastic meaning and the sincere meaning as opposites of one another. Aunt Louisa’s behaviour contrasts with the expected behaviour of guests. On the scale of burdensomeness of guests, speaker b is presenting it as if there is no problem — and thus positions Aunt Louisa’s behaviour on the positive side of the scale —, while in reality speaker b means the opposite.

For each of the examples of propositional sarcasm, the sincere utterance is in some way associated with an evaluative scale. As was explained in the first few examples, Camp makes a difference between sarcasm that implicates the opposite of what is meant and a more pragmatic way of implicating sarcasm. I propose to name these kinds evaluative direct opposites, where the implied meaning is the direct opposite of what the speaker says, and evaluative indirect opposites, where the implied meaning is more pragmatic and needs an intermediate step to cover the meaning. In both cases the sarcastic utterance puts the meaning on an evaluative scale, with an evaluative attitude towards the (often

negative) side. Sentences 4 to 6 are visually presented in the following diagram, marking the kind of propositional sarcasm — either evaluative direct opposites or evaluative indirect opposites —, the evaluative scale with — in the case of evaluative indirect opposites — also an intermediate step to come to this scale and, finally, the meaning of the example put on the evaluative scale:

SENTENCE (4): evaluative direct opposites He’s a fine friend. He’s a bad friend. Evaluative scale: “being a friend” (positive to negative)

SENTENCE (5): evaluative direct opposites She’s the Taj Mahal. She’s ugly. Evaluative scale: “beauty” (positive to negative)

SENTENCE (6): evaluative indirect opposites She never stays for more than a month at a She is outstaying her welcome. time, and she always confines her three cats to the upper two floors of our house. Intermediate step: does what is being said here make sense in the context? Evaluative scale: “burdensomeness” (positive to negative)

Incorporating this into the Appraisal model creates some problems. First of all, it is impossible to characterize sarcasm with simple labels such as [Judgement: -norm] or [Affect: +hap]. This misses the effect of having the reversed meaning. Therefore, I propose to use a similar system to Martin & White’s way of distinguishing “not happy” from “sad” as was discussed in section 3.2.1. The subtle nuance of adding ‘neg.’ can also be incorporated with sarcasm by adding ‘Sarc.’ to the label, as in [Sarc. Judgement: +norm]. This label makes it clear that, although the utterance is positive at first sight, the utterance is meant sarcastically and thus negatively.

Another problem when incorporating sarcasm into the Appraisal model is the fact that the labels are in some sense restricted to being either positive or negative. By adding ‘Sarc.’ to a label it is implied that the utterance indicates the opposite value. Camp’s theory of propositional sarcasm (2012), however, already hinted to a solution. By differentiating what I called evaluative direct opposites from evaluative indirect opposites, it is possible to make a difference in labelling. Whereas for the evaluative direct opposites the contrasting terms will explicitly be mentioned, for the evaluative indirect

opposites this is not the case (hence, the intermediate step). By using the evaluative scale to label the utterance, is possible to mark opposing labels:

# Sentence Evaluative scale Label of Appraisal (4) He’s a fine friend. “being a friend” [Sarc. Judgement: +ten] (5) She’s the Taj Mahal. “beauty” [Sarc. Appreciation: +reac] (6) She never stays for more than […] “burdensomeness” [Sarc. Judgement: +cap]

The first two sentences are evaluative direct opposites where the terms contrasting are explicitly mentioned. In the first sentence, sentence (4), the speaker claims that his friend is “a fine friend”, which would be [Judgement: +ten] as he is Judging his friend’s dependability. However, since it is uttered sarcastically, ‘Sarc.’ was added to show that, although the utterance is positive, it is meant negatively. Same goes for the next sentence: in sentence (5) the speaker discusses the girl’s beauty, labelled as [Appreciation: +reac]. However, the metaphor is meant sarcastically. The final sentence is different. This example of evaluative indirect opposites shows the importance of the evaluative scale to label the Appraisal. In the sentence itself, “she never stays for more than a month at a time, and she always confines her three cats to the upper two floors of our house”, it is unclear which label to assign to the sarcastic utterance. In this case, it is better to look at the scale found through the intermediate step, namely the evaluative scale of “burdensomeness”. This scale shows the focus of the sentence as one where the aunt is portrayed as not being a burden (and thus, [Judgement: +cap]), while in reality she is a burden (thus, [Judgement: -cap]). So, in cases where the opposite meaning of the sentence is not immediately clear, the evaluative scale can help to label the sentence correctly.

Finally, it is important to mention that the implied meaning of the sarcastic utterance is certainly not always straightforward. This refers to what Bakhtin labelled ‘polyphony’. While studying Dostoevsky’s work, he noticed this:

What unfolds ... is not a multitude of characters and fates in a single objective world, illuminated by a single authorial consciousness; rather a plurality of consciousnesses, with equal rights and each with its own world, combine but are not merged in the unity of the event. Dostoevsky's major heroes are, by the very nature of his creative design, not only objects of authorial discourse but also subjects of their own directly signifying discourse (Bakhtin 1984: 6 - 7).

The concept of polyphony has been connected to conversational humour, which also involves sarcasm. Priego-Valverde (2012: 52), for instance, saw humour as a polyphonic phenomenon as different voices can be detected. She concluded that there was one voice which was easy to recognise: it is the voice of the speaker and the one who will laugh at the humour he or she is creating. Secondly, there are voices that are harder to identify and that she labels as “false speakers or hearers” (52). Those voices aim to make people laugh. The complication with conversational humour is the fact that “the speaker plays hide-and-seek with the various voices s/he invokes” (52). It is also this fact that makes it possible to include or exclude someone from a conversation: not everyone will appreciate or even understand the humour of the utterance (Priego-Valverde 2012: 45). This implies that one meaning does not always exclude all other options. Sarcasm can have different layers of meaning, which makes it harder to understand as a receiver. Attardo (2002: 167) illustrates this with the following example:

(7) A is the 80-year-old grandmother of B, a 30-year-old female. B had just run up over a curb driving out of a store. A: They just built that while you were in the store. B: I know. (Attardo 2002: 167)

Person A claiming that “they just built that while you were in the store” is certainly meant ironically, but the question of why she said it can be interpreted in different ways: is A just being funny? Is the speaker teasing B? Is A exaggerating? Or is it said as a metaphor? Attardo (2002) calls it a mix of all options: “A may be humorously teasing B about her lack of attention (or driving skills) by wildly exaggerating the speed with which a curb could have been built and by metonymically having running over a curb stand for being distracted/driving poorly” (165). He calls this a “cluster of implicatures” (165). Although only one label will be given to sarcastic utterances in the analysis, the close reading will discuss the different options. These options are not restricted to different labels, but can also be the same label but with a different evaluative scale, as is the case here. While the two utterances in the example above would both be analysed as [Sarc. Judgement: +cap], the label can refer to an evaluative scale of “attentiveness” or “driving skills”, thus evoking the concept of a “cluster of implicatures” (Attardo 2002: 165).

4. Case studies 4.1 Methodology

As stated, the aim of this thesis is to research the embedding of lyrics in a musical script. This is done in the field of English Linguistics and the thesis will therefore focus on the written script of the musical and the lyrics of the songs. This means that the analysis will not take into account other important aspects of a musical, such as the actor’s portrayal of a character or the music. After researching the musical genre and the function of songs in the narrative, as well as Martin & White’s Appraisal theory, I could start my research. Using the full script of Dear Evan Hansen would have resulted in a corpus that would be too extensive for this thesis, so I limited it by looking at the songs specifically. The musical counts 14 different songs of which 4 are reprised at least once. Especially those reprises were interesting, because analysing reprises would give the possibility to analyse the same song in a (possibly) different context. Hence, I narrowed down the data to four songs with their reprise(s), namely Waving Through a Window, For Forever, Sincerely Me and You Will Be Found. However, as I would not be taking into account the music, but only the lyrics of the song, I chose to focus on Waving Through a Window and For Forever. The other two reprises go through lyric changes which would, when not taking into account the music or rhythm of the song, leave the impression of being different songs rather than reprises. The reprises of both Waving Through a Window (WTAW) and For Forever (FF), however, are word-for-word repetitions of the main song and thus provide a clear case to research the functions of the song and its reprises in different contexts, focussing on the text (language) rather than musicological aspects.

The data could be easily collected because the script of the musical was officially published by Theatre Communications Group Inc. as part of the Dear Evan Hansen merchandise. However, having decided to analyse the dialogue preceding a song, it proved to be more difficult than simply selecting full scenes to analyse. Reasons for not selecting the full scene were the presence of other songs (as was the case with the dialogue preceding WTAW) or the dialogue continuing after the reprise was sung (as was the case with the first reprise of both WTAW and FF). In both cases, I decided to only select the spoken parts of the scene directly preceding the song. An overview of what scenes were selected for the analysis can be found in appendix 1. Preparing the data sets for analysis, I followed the example of Eggins and Slade (1997): I used their symbols to mark non-verbal information and overlap, numbered the turns and divided each turn into its different sentences. This would make it possible to refer to a specific utterance when marking the evaluative terms. The result of this process is added as appendix 2-8. In order to be complete and because the chosen data sets are very emotional and touch on dark topics, I also included the ending of the musical in appendix 20. 25

For the close reading, I analysed each data set separately. I marked all instances of Attitude (in blue), Engagement (in green) and Graduation (in orange), each time indicating its subcategory as well. The result is added in appendix 9-13. The boundaries to label each instance were not always clear-cut and the process is quite subjective. Therefore two things are important to note. First, when labelling the utterances I trusted my own judgement and my own knowledge about the full musical, as well as the annotated version of the script that was published in an official behind-the-scenes book Through the Window. The annotations were made by the musical’s book writer Steven Levenson and its music and lyricists Justin Paul and Benj Pasek. With this information, I believe to have a clear understanding of the utterances in the musical. Secondly, I decided to only give one label to an utterance of Appraisal. This was not always easy, but I believe it increases the thought one puts into the analysis when forced to choose between labels. For each of the labels I also included comments to document my reasoning in choosing a certain subcategory. This had two reasons: firstly, I wanted to be able to look back at my thought process and secondly, by providing a detailed description for each of the labels, I was able to conclude whether or not assigning a specific label was justified. If I had labelled an utterance in a specific way, but was unable to explain why, the labelling had to be reconsidered. The close reading itself is meant to show how the categories of Appraisal are used and in what contexts they are used.

In the song lyrics not many clear instances of Appraisal could be found. Consequently, the analysis failed to provide clear results to compare with those of the dialogues. As a solution, I listed the different themes conveying emotion in the songs. Those themes were then elaborated by adding linguistic evidence from the lyrics as well as content-related arguments.

For the results section, it was important to get a full overview of the use of each category. To create such an overview, I listed all utterances in an Excel file per data set, indicating the item of Appraisal, the turn, string, the appraiser, the appraised and the different subcategories of Attitude, Engagement and Graduation. The result was added in appendix 14-19. The overview revealed the numbers, indicating the ratio of the different (sub)categories. These results could not only show the smallest and largest (sub)categories, and thus the mood of the data set, they could also say something about the use of Appraisal for the characters separately.

By having this background of the context of the song, as well as a clear view on the number of instances per category and per character, I could investigate the correlation with the song and its reprise(s).

4.2 Case study 1: Waving Through a Window

The data sets of the first case study are all situated in the beginning of the first act and thus follow closely after one another. The following table gives an overview of each data set:

Data set section 4.2.1.1 The dialogue preceding WTAW Act 1, scene 1 (part 2) Data set section 4.2.1.2 The song WTAW Act 1, scene 1 (part 2) Data set section 4.2.1.3 The dialogue preceding WTAW reprise #1 Act 1, scene 2 (part 1) Data set section 4.2.1.4 The dialogue preceding WTAW reprise #1 Act 1, scene 3

Data sets of case study 1: Waving Through a Window

4.2.1 Close reading 4.2.1.1 The dialogue preceding Waving Through a Window

The scene taking place right before Waving Through a Window is sung, finds 17-year-old Evan on his first day of school after summer break. He has a broken arm, and his mam encouraged him to ask people to sign his cast. The first student he talks to is Alana. She eagerly approaches Evan, immediately asking him about his summer:

NV1 [As Cynthia and Heidi exit, the buzz of a school bell. Lights shift, finding Evan standing in a school hallway. Alana Beck enters, a certain barely concealed desperation in the eagerness with which she approaches Evan, in her almost too-wide smile.]

1. Alana (i) How was your summer?

NV2 [Evan looks around, not sure if she’s speaking to someone else.]

Extract 1 Dialogue preceding WTAW (turns 1-4)

The non-verbal cues that are written down in the libretto already indicate that he does not expect Alana’s question to be aimed at him. That Insecurity is also shown in his reply when he repeats her question, saying “My …?” (2i), and is thus seeking clarification that she is indeed inquiring about his summer. Alana’s question, however, should not be labelled as her being interested as she quickly interrupts Evan. Her answer starts with valuation, claiming that her summer was “productive” (3i). She then continues to explain why, showing her satisfaction over her accomplishments: she did “three internships and ninety hours of community service” (3ii). Followingly she positions herself in alignment with Evan when she says “I know: wow” (3iii-iv). Even though Evan has not uttered a word yet, she is already anticipating his answer, namely “wow” (3iv). She rules out the idea that Evan could Value it differently. Evan’s response is indeed affirmative: he first responds with a simple “yeah” (4i) and then elaborates more by repeating Alana’s reaction “wow” (4iii) and saying that it is “really impressive” (4iv). By adding “really” (4iv) he is augmenting the utterance, clearly aligning himself with the valuation Alana felt for her work during the summer. Alana continues talking about her accomplishments:

5. Alana (i) Even though [Disclaim: counter] I was so busy, (ii) I still [Augmenting] made some great friends [Affect: +sat]. (iii) Or, (iv) well, (v) acquaintances [Affect: +sat], more like [Mitigation].

Extract 2 Dialogue preceding WTAW (turn 5)

Alana Counters the idea that she has not had time for anything else because she was so busy. She augments that by using the adverb “still” (5ii), claiming that she did have time to make “some great friends” (5ii). Although finding a new friendship could easily be labelled with happiness, Alana continues with “or, well, acquaintances, more like” (5iii-v), contradicting this analysis. She is exclaiming this as though it were a tick-off list of what to accomplish over the summer: she is Mitigating her newfound friendships already, talking about “acquaintances, more like” (5v). Through Prosody, this means that Alana does not consider “[making] some great friends” (5ii) or “acquaintances” (5v) as Happiness, but as Satisfaction, because of her busy schedule. Now that Alana has finished, Evan gathers his courage to ask Alana to sign his cast:

6. Evan [gathering his courage] (i) Do you want to maybe [Entertain] [Affect: -sec] … [Affect: -sec] (ii) I don’t know (iii) what you’re, um … [Affect: -sec] [Augmenting] (iv) do you want to sign my cast? 7. Alana (i) Oh my God [HTC]. (ii) What happened to your arm?

8. Evan (i) Oh [Affect: -sec]. (ii) Well. (iii) I broke it. (iv) I was climbing a tree … 9. Alana [Not listening at all]: (i) Oh really? [HTC] (ii) My grandma broke her hip getting into the bathtub in July. (iii) That was the beginning of the end, the doctors said. (iv) Because then she died.

NV3 [Evan has no idea how to respond to this. Alana plasters on a glowing smile.]

10. Alana (i) Happy first day [Affect: +hap].

NV4 [Alana exits as Jared Kleinman approaches Evan with the kind of practiced swagger only the deeply insecure can truly pull off.]

Extract 3 Dialogue preceding WTAW (turns 6-10)

His Insecurity when asking the question is clearly shown in turn 6. By using the adverb “maybe” (6i), Evan is Entertaining the idea of Alana signing his cast, but is also prepared for her to have several reasons not to be willing to do so. This is also shown when he asks “I don’t know what you’re, um …” (6ii-iii), again giving her an opportunity to decline. Evan is struggling to find the right wording, which augments his Insecurity, but after restating three times he manages to formulate his question in a clear sentence: “Do you want to sign my cast?” (6iv). Alana only now notices his cast and calls out “Oh my god” (7i) before asking what has happened. This exclamation is hard to classify: it could be a Reaction (and thus Appreciation), but it does not exactly answer the question of “how good/bad did you find it” (Eggins & Slade 1997: 127). It could also be seen as surprise, which is analysed in the category of Insecurity, but it is hard to state that Alana’s Insecurity is shown here. Therefore, this exclamation will be labelled as [HTC]. Evan’s response to Alana, however, does show Insecurity: he had been Focused on asking Alana to sign his cast, and had not anticipated her to question what had happened. When he starts explaining what has occurred, Alana interrupts him again, saying “Oh really?” (9i). This utterance is also hard to classify: as was the case for “Oh my god” (7i) as well, this cannot be labelled as a reaction. Neither is it Judgement towards Evan: the exclamation is often used sarcastically, but here Alana is not sceptical of Evan’s explanation. She — at least in some sense — does show interest as she uses it as a starting point to share her own story on the topic of broken bones. Evan does not respond and before Alana walks away, she happily wishes Evan a “Happy first day” (10i). Jared enters the scene, immediately commenting on Evan’s broken arm:

Extract 4 Dialogue preceding WTAW (turns 11-13)

Jared is asking Evan a question which is clearly Sarcastic. In the musical this is the first introduction to Jared, and also throughout the musical he is portrayed as a sarcastic person as it is his way of coping. However, only taking into account this utterance, we can easily rule out that Jared would be serious and he expects Evan to have an answer to his — to say the least — weird question. It is unclear if he simply wants to be funny or if he is teasing Evan to try to make him feel uncomfortable. The literature study made a difference between evaluative direct opposites and evaluative indirect opposites. The utterance “Is it weird […] or do you consider that an honor” (11i-iii) is an example of evaluative indirect opposites:

First level: “Is it weird [Appreciation: -reac] to be the first person in history [Augmenting] to break their arm from jerking off too much or do you consider that an honor [Appreciation: +reac]?”

Second level: sarcasm (evaluative indirect opposites)

Considering what has happened Not considering what has happened [Sarc. Judgement: +cap] [Judgement: -cap]

Intermediate step: Jared is pretending to be interested in what has happened to Evan. Normative scale: “interest” (positive to negative)

Sarcastic utterance 1 Jared (11i-iv) - evaluative indirect opposites

On a first level Jared is asking for Evan’s Reaction: does he considers it to be “weird” (11i) or “an honor” (11iv). However, on a second level it is clear that Jared is only pretending to be thinking over what has happened to Evan’s arm. By showing fake interest he is ridiculing Evan. First of all, he is Augmenting his utterance by saying “the first person in history” (11ii), which, in this context, can only be meant to ridicule Evan. Secondly, Jared is explicitly stating that Evan broke his arm “from jerking off too much” (11iii), something that is untrue, which is known by Jared as well. The Sarcasm is thus pointed at Evan’s Capacity: with Jared’s utterance he shows genuine interest in what has happened to Evan, thus labelling him as an interesting person. However, by means of the content of what he is saying and the way he does so, it is clear that Evan is far from an interesting person to Jared. Evan Denies the implied meaning twice, which again shows his Insecurity: he is still analysing what Jared has said, and is trying to Deny it as soon as possible, speaking before he has formed the sentences entirely. Jared simply continues laughing at Evan, expanding on what he claims has happened. He is sketching what the circumstances were, also laughing at Evan’s “weird, off-brand cell phone” (13iii). Through Prosody, this utterance still Evokes the feeling of Judgement towards Evan. Evan is again Denying the circumstances:

14. Evan (i) That’s not [Disclaim: deny] (ii) what happened. (iii) Obviously [Judgement: - ver]. (iv) I was, (v) um [Affect: -sec], (vi) well (vii) I was climbing a tree (viii) and I fell. 15. Jared (i) You fell out of a tree [Judgement: -norm]? (ii) What are you, like, an acorn [Judgement: -norm]?

Extract 5 Dialogue preceding WTAW (turns 14-15)

Not only is he Denying Jared’s statement with the negator “not” (14i), he also adds “obviously” (14iii). With this adverb, he makes it clear that he is Judging Jared’s Veracity: it is obvious that that is not what has happened, and he is annoyed by Jared implying it. His Insecurity is once again highlighted when he wants to explain what has really happened. He interrupts himself a few times by saying “um” (14v) and “well” (14vi). Jared is sceptical when Evan tells him he fell because he rephrases what Evan had said, which adds Judgement. The utterance “what are you, like, an acorn” (15ii) also Judges Evan, a feeling caused by Prosody with the other utterances. Jared is comparing Evan to “an acorn” (15ii), which will passively fall from a tree. The Sarcasm in the previous utterances give this utterance a harsh undertone. However, Evan responds to that Judgement, elaborating on how it happened:

16. Evan (i) Well, (ii) I was, (iii) I don’t know (iv) if you know this [Affect: +sat] [Augmenting], (v) but I worked this summer as an apprentice park ranger at Ellison State Park [Affect: +sat]. (vi) I’m sort of [Mitigation] a tree expert [Judgement: +cap] now [Affect: +sat]. (vii) Not to brag [Judgement: -prop], but … [Affect: +sat]

NV5 [Jared says nothing]

17. Evan (i) Anyway [Affect: -sec] [Mitigation]. (ii) I tried (iii) to climb this forty-foot-tall [Augmenting] oak tree. 18. Jared (i) And then you fell … ? [Judgement: -norm]

Extract 6 Dialogue preceding WTAW (turns 16-18)

Evan proudly explains his accomplishments over the summer, even adding “I don’t know if you know this” (16iii-iv), indicating that what is to follow is worth knowing. He worked “as an apprentice park ranger in Ellison State Park” (16v) and Judges himself as being “sort of a tree expert” (16vi). However, by immediately adding “sort of” (16vi), he is Mitigating that statement. He also acknowledges that he is bragging, saying “not to brag, but …” (16vii), but by adding “but” (16vii) it is made clear that he finds his accomplishments worth bragging about. However, Jared does not say anything in response and his Insecurity returns. He redirects the conversation by simply saying “anyway” (17i). In other words, Jared’s lack of response led Evan to believe that his accomplishments were of no importance and he redirects the topic, returning to what has happened to his arm. He explains that he was climbing “this forty-foot-tall oak tree” (17iii): it was not necessary to add the height of that tree, so by doing so, he is trying to impress Jared by Augmenting. Jared’s response, however, asking “And then you fell … ?” (18i), is once again Judging Evan’s Normality: not only was he climbing a tree, he also fell out of one. Jared’s Judgement prompts Evan to continue his story:

19. Evan (i) Well, (ii) except it’s a funny [Appreciation: +val] story, (iii) because there was this solid [Augmenting] ten minutes after I fell, (iv) when I just lay there on the ground (v) waiting for someone (vi) to come get me. (vii) Any second now, I kept saying to myself [Affect: des]. (viii) Any second now, here they come [Affect: des] [Augmenting]. 20. Jared (i) Did they?

21. Evan (i) No [Disclaim: deny]. (ii) Nobody came [Disclaim: deny] [Augmenting]. (iii) That’s the [Affect: -sec], (iv) that’s what’s funny [Appreciation: +val] [Affect: - sec]. 22. Jared (i) Jesus Christ … [Judgement: -norm]

Extract 7 Dialogue preceding WTAW (turns 19-22)

Jared did not react as Evan had hoped and he elaborates by telling about what happened after he fell from the tree. He introduces the experience as being “a funny story” (19ii), Valuating it himself. He is dramatizing the story by adding a clear time frame when he says “there was this solid ten minutes” (19iii). He sketches the setting and voices his Desire for someone to come find him, Augmenting this when he repeats it twice. Jared engages when he asks: “Did they?” (20i). Evan Denies twice, sharing that no one came looking for him. Evan had claimed it would be a funny story and when he sees Jared is not laughing, he explains that him being left alone after falling was the funny part. He had expected Jared to find this funny, but the realization that he had wrongly Valuated the story heightens Evan’s Insecurity which is also shown by him starting his sentence twice, before he is able to say what he wanted to say. Jared responds with “Jesus Christ” (22i), Judging Evan’s Normality for assuming that to be funny. In other words, he finds it pathetic. Wanting to take the focus away from himself, Evan redirects the conversation again and asks about Jared’s summer:

23. Evan (i) How was [Affect: -sec], (ii) what did you do for the [Affect: -sec] [Augmenting], (iii) you had a good [Appreciation: +reac] summer? 24. Jared (i) Well [Affect: +sat], (ii) my bunk dominated [Affect: +sat] in capture the flag (iii) and I got to second-base-below-the-bra [Affect: +sat] with this girl from Israel (iv) who’s going to like be in the army [Appreciation: +reac] … (v) so, yeah, hopefully that answers your question [Affect: +sat].

NV6 [Jared turns to go.]

Extract 8 Dialogue preceding WTAW (turns 23-24)

Evan’s Insecurity is again Augmented when he restates his question three times, each time selecting a new verb. First, he wants to ask “how was [your summer]” (23i). Secondly, he starts with “what did you do for the [summer]” (23ii) and finally he restates his question, although what he was asking was already clear in the previous (although unfinished) sentences. He asks “you had a good summer”. The adjective “good” (23iii) is not valuating Jared’s summer, but is asking for a Reaction. Through Prosody

with the following utterances, Jared’s response “Well” (24i) can already be marked as Satisfaction, because followingly he tells a story about his bunk dominating — an Inscribed utterance of Satisfaction —, and then continues to talk about a girl he met from Israel. He is objectifying her: he is describing her as an achievement for him. First of all, he has to point out that he “got to second-base-below-the- bra” (24iii) and then continues by saying that the girl is “going to like be in the army” (24iv). One could claim that Jared is impressed with her. However, considering the context, it seems more reasonable to say that he is satisfied with himself for getting together with a girl that is “going to like be in the army” (24iv). He sees her job as a quality and describes her as a victory, rather than a girl he has any feelings for. Through Prosody that feeling of Satisfaction can also be found in his final sentence during his turn. He says: “So, yeah, hopefully that answers your question.” (23v). The adverb “hopefully” (23v) would imply that Jared wants to make sure he has answered Evan’s question. However, by assuming Evan can deduce the answer himself, Jared shows his Satisfaction. Not waiting for Evan to reply, Jared turns to walk away before Evan addresses him again:

Extract 9 Dialogue preceding WTAW (turns 25-27)

Evan has finally gathered the courage to ask Jared to sign his cast. Jared’s reply is full of Judgement: “Why are you asking me?” (26i). He makes it seem as if Evan made a mistake by asking him, as if Evan was incapable of considering who to ask to sign his cast. Evan now has to defend his choice and that makes him Insecure. That can be seen in his reply “Well, just, I thought, because we’re friends.” (27i- iv): Evan is very careful not to assume anything. The adverb “just” (27ii) indicates that Evan is already Mitigating the importance of what he asked, and “I thought” (27iii) carefully Entertains the idea that he thought they were friends. He leaves the space open for Jared to either agree or disagree with him. Jared disagrees and Counters Evan’s statement by saying that they are “family friends” (28i) instead of real friends:

28. Jared (i) We’re family friends [Judgement: -cap] [Disclaim: counter] [Augmenting]. (ii) That’s like a whole [Augmenting] different thing [Judgement: -cap] (iii) and you know it [Judgement: -cap].

NV7 [He punches Evan in the arm.]

29. Jared (i) Hey. (ii) Tell your mam (iii) to tell my mom (iv) I was nice to you [Judgement: +prop] (v) or else my parents won’t pay for my car insurance. 30. Evan (i) I will [Proclaim: concur] [Affect: -sec].

NV8 [Connor crosses]

Extract 10 Dialogue preceding WTAW (turns 28-30)

Jared Counters Evan’s statement by repeating Evan’s exact grammatical structure, only now he adds “family friends” (28i) instead of simply “friends” (27iv). By doing that he is Augmenting his statement, while Judging Evan’s Capacity of being able to define their relationship. He continues Judging Evan when he says “That’s like a whole different thing and you know it” (28ii-iii). First of all, he is Augmenting his statement by using the adverb “whole” to show just how different the distinction is between ‘friends’ and ‘family friends’. He makes it clear that there is no way to mistake one from the other. Secondly, he also adds “and you know it” (28iii), again Judging Evan. Jared then continues by adding what needs to be done in order for his parents to pay for his car insurance, even going as far as Judging himself as being “nice to [Evan]” (29iv). Although Evan gains nothing by agreeing to Jared’s wishes, he easily complies. Then Connor comes into the school hall and Jared yells for his attention by calling out his name:

NV8 [Connor crosses]

31. Jared (i) Hey, Connor. (ii) I’m loving [Enrichment] the new hair length [Sarc. Appreciation: +reac]. (iii) Very school shooter chic [Sarc. Appreciation: +reac].

NV9 [Connor stops, casts a withering glance at him.]

32. Jared (i) I was kidding [Affect: -sec]. (ii) It was a joke [Affect: -sec] [Augmenting].

Extract 11 Dialogue preceding WTAW (turns 31-32)

Jared is challenging Connor when he says “I’m loving the new hair length” (31ii) and even elaborates with “Very school shooter chic” (31iii). Again, Jared is being Sarcastic. It is an example of evaluative direct opposites, as he is saying the exact opposite of what he means. The normative scale is one of “loving something”:

First level: “I’m loving [Enrichment] the new hair length [Appreciation: +reac]. Very school shooter chic [Appreciation: +reac].”

Second level: sarcasm (evaluative direct opposites)

Jared loves it. Jared does not love it. [Sarc. Appreciation: +reac] [Appreciation: -reac]

Normative scale: “loving something” (positive to negative)

Sarcastic utterance 1 Jared (31ii-iii) - evaluative direct opposites

On a first level, Jared’s Reaction to Connor’s hair is positive, he even states that he is “loving” (31ii) it, an Enrichment as he could just as well have said he simply liked it. However, Jared means to state the opposite, which is made explicitly clear when he compares it with “very school shooter chic” (31iii). That the Sarcasm was recognised by Connor is shown in the non-verbal information stating that “Connor stops, casts a withering glance at [Jared]” (NV9). Unlike Evan, Connor does respond to the teasing and Jared quickly explains that he “was kidding” (32i) and that “it was a joke” (32ii). Jared’s Insecurity is clear in these sentences, which is only highlighted by the fact that he restates the same message twice, eager to have Connor realise the joke. Connor is playing along:

33. Connor [Deadpan] (i) Yeah [Sarc. Proclaim: Concur], (ii) no [Disclaim: deny], (iii) it was funny [Sarc. Appreciation: +reac] [Sarc. Proclaim: Concur]. (iv) I’m laughing [Sarc. Appreciation: +reac] [Augmenting]. (v) Can’t [Disclaim: deny] you tell? [Judgement: -cap] (vi) Am I not [Disclaim: deny] laughing hard enough for you? [Judgement: -cap] [Sarc. Appreciation: +reac] 34. Jared [laughs nervously, bravado gone] (i) You’re such [Focus] a freak [Judgement: -norm].

NV10 [Jared, laughing, nervously exits. Connor turns to Evan. Evan laughs, uncomfortable.]

Extract 12 Dialogue preceding WTAW (turns 33-34)

Connor Concurs when he answers “yeah” (33i), reacting on Jared telling him it was a joke. And then he Denies the implied statement that he would not think it is funny. He explicitly states that “it was funny” (33ii) and that he is “laughing” (33iv). However, from the non-verbal information and from the context, it is clear that the utterances have a second level of meaning:

First level: “Yeah [Proclaim: concur]. No [Disclaim: deny]. It was funny [Appreciation: +reac]. I’m laughing [Appreciation: +reac].”

Second level: sarcasm (evaluative direct opposites)

Yes, it is funny. It is not funny. [Sarc. Proclaim: concur] [Disclaim: deny]

Normative scale: “something being funny” (positive to negative)

Connor likes Jared’s joke. Connor does not find Jared’s joke funny. [Sarc. Appreciation: +reac] [Appreciation: -reac]

Normative scale: “something being funny” (positive to negative)

Sarcastic utterance 3 Connor (33iii-iv) - evaluative direct opposites

These Sarcastic utterances are again examples of evaluative direct opposites. In other words, Connor is saying the exact opposite of what he means. On the normative scale of something being ‘funny’ Connor pretends to like Jared’s joke, but he means that it is not funny at all. His annoyance with Jared’s statement is Augmented because of the extent Connor goes through to get his point across. First he Concurs, saying that “it was funny” (33iii) and that it even made him laugh (33iv). Secondly, he also addresses Jared, reproaching him for not being able to see it. He says “Can’t you tell? Am I not laughing hard enough for you?” (33v-vi):

First level: “Can’t [Disclaim: deny] you tell [Judgement: -cap]? Am I not [Disclaim: deny] laughing [Appreciation: +reac] hard enough for you [Judgement: -cap]?”

Second level: sarcasm (evaluative indirect opposites)

Acting as if it is funny, but Jared cannot It was not funny. see Connor’s positive reaction. [Sarc. Appreciation: +reac] [Appreciation: -reac]

Intermediate step: Connor is framing it as a reproach towards Jared for not being able to see Connor laughing, but he is not laughing Normative scale: “something being funny” (positive to negative)

Sarcastic utterance 4 Connor (33v-vi) - evaluative indirect opposites

This is again meant Sarcastically: on a first level Connor is Judging Jared’s Capacity as he is unable to see Connor enjoys the joke. However, framing this as a reproach has a different layer of meaning: by acting as if Jared should be able to see Connor laughing, Connor makes clear that he is definitely not. Jared feels intimidated and walks away, Judging Connor one more time by calling him “a freak” (34i). He even Focusses that utterance by adding “such”, saying that Connor is “such a freak” (34i). Now that Jared is gone, Connor turns to Evan, who has silently been watching the conversation:

NV10 [Jared, laughing, nervously exits. Connor turns to Evan. Evan laughs, uncomfortable.]

35. Connor (i) What the fuck [Augmenting] are you laughing at [Judgement: -prop]? 36. Evan (i) What [Affect: -sec]? 37. Connor (i) Stop fucking [Augmenting] laughing at me [Judgement: -prop].

38. Evan (i) I’m not [Disclaim: deny] [Affect: -sec]. 39. Connor (i) You think [Proclaim: pronounce] (ii) I’m a freak [Judgement: -norm] [Judgement: -prop]?

40. Evan (i) No [Disclaim: deny]. (ii) I don’t - [Disclaim: deny] [Affect: -sec] 41. Connor (i) I’m not [Disclaim: deny] a freak [Judgement: neg. -norm].

42. Evan (i) But [Disclaim: counter] I wasn’t - [Disclaim: deny] [Affect: -sec] 43. Connor (i) You’re the fucking [Augmenting] freak [Judgement: -norm] [Disclaim: Counter].

NV11 [Connor shoves him to the ground as he storms away. Slowly, Evan stands.]

Extract 13 Dialogue preceding WTAW (turns 35-43)

The conversation that follows between Connor and Evan is one filled with Augmenting and Judgement on Connor’s part and Disclaiming on Evan’s part, either in the form of Denying or Countering. Evan’s uncomfortable smile fills Connor with rage and he asks “What the fuck are you laughing at? (35i). Connor swearing Augments his Judgement towards Evan. At first, Evan is not sure what is happening and he timidly asks for clarification. Connor swears again and tells Evan to stop laughing. Evan’s Insecurity is shown when he quickly Denies doing so, not to enrage Connor. Connor then comes to a conclusion himself and labels Evan as one of those thinking he is a freak, adding authority as he is not Entertaining the idea that Evan would have any other opinion. Evan Denies that, but does not get a chance to defend himself before Connor himself Denies being a freak. Evan again quickly Counters and Denies, wanting to distance himself from the direction this conversation has taken, but does not get the chance to. Connor shoves Evan to the ground after Judging Evan for being a “fucking freak” (43i) himself.

4.2.1.2 The song Waving Through a Window

The main theme of the song Waving Through a Window is loneliness: Evan explains how he distances himself from others as well as longs to break that distance. This is shown through semantics and the use of pronouns.

4.2.1.2.1 Semantic

The song uses four metaphors to get the meaning across. Each of these metaphors want to express another state of loneliness. The first two metaphors show how Evan’s Insecurity makes him distance himself from others, while the next two show Evan longing to break that distance.

The first metaphor to show that Evan has distanced himself, can be found in the first verse:

[VERSE 1] I’ve learned to slam on the brake Before I even turn the key Before I make the mistake Before I lead with the worst of me

This metaphor pictures Evan’s fear to simply be himself. He sings that he has “learned to slam on the brake”, an action that forces the car to come to a sudden stop. However, he continues by saying “Before I even turn the key”: even without there being any immediate danger, as the car has yet to start, Evan is slamming on the brake to stop. He is building walls to protect himself of “[making] the mistake” and “[leading] with the worst of me”. That Evan is Judging himself in these lines, is made clear through subtle features. He sings “the mistake”, instead of “a mistake”, hinting that he is afraid of making mistakes that will have severe consequences. He also immediately Judges himself of “[leading] with the worst of me”. Finally, the use of the verb “learned” in this context, shows that it was a process of trial-and-error and he is Judging himself for all those times he was unable to avoid making a mistake. He is building these walls to distance himself before it can go wrong.

Another metaphor that highlights Evan distancing himself from others, is the following in the pre- chorus of the song:

[PRE-CHORUS] Step out, step out of the sun If you keep getting burned Step out, step out of the sun Because you’ve learned, because you’ve learned

Saying that he will “step out of the sun” means that he walks away from the spotlight, distancing himself from being too noticeable. Again, he explicitly refers to the process of trial-and-error when he says “because you’ve learned, because you’ve learned”. The image of “getting burned” also supports that theory, as it was the idea of getting burned that led him to taking a step back, out of the sunlight.

The following two metaphors also show Evan at a distance from others, but at the same time it shows his longing for that distance to disappear, he is longing for a connection to other people. The first metaphor is situated in the chorus of the song:

[CHORUS] On the outside, always looking in Will I ever be more than I’ve always been? ‘Cause I’m tap, tap, tapping on the glass I’m waving through a window I try to speak, but nobody can hear So I wait around for an answer to appear While I’m watch, watch, watching people pass I’m waving through a window, oh Can anybody see, is anybody waving back at me?

The metaphor of the window is used in three ways. Firstly, there is Evan passively sitting behind the window. He is “on the outside, always looking in”, “waiting around for an answer to appear” and is “watching people pass”. He is watching them, but is not actively reaching out to them. Secondly, Evan is shown as taking action from his position on the other side of the window: he is “tapping on the glass” and “waving through a window”. Finally, we learn how his actions do not have the desired effect: “I try to speak, but nobody can hear” and “can anybody see, is anybody waving back at me”. He feels as if everything he says, is not heard, and everything he does is not seen: it is a cry in desperation.

The final metaphor, in the bridge of the song, pictures this desperation through the metaphor of falling in a deserted forest:

[BRIDGE] When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? Did I even make a sound? Did I even make a sound? It’s like I never made a sound Will I ever make a sound? 41

Again, Evan is creating a situation where he feels the loneliness: he pictures himself falling from a tree and wonders if anyone would notice. Does he even crash? Does he make a sound? His desperation is shown when he even wonders if he “will ever make a sound”. Not only does the metaphor indicate the feeling of desperation, there is also the use of the pronouns, which will be explained in the following section and the use of the adverbs “ever”, “never” and “even” which clearly indicate desperation.

4.2.1.2.2 Pronouns

The feeling of loneliness is not only evoked through the metaphors, but also through the use of pronouns. As is made apparent in the following overview, most pronouns are terms creating distance: many instances he speaks about “I” in relation to “nobody”, “anybody” or “no one”. There are only 3 instances where he labels himself as part of the others when he says “we”:

I 27 You 16 Nobody 7 Anybody 7 No one 1 We 3

The pronouns “I”, “nobody”, “anybody” and “no one” speak for themselves in terms of creating distance. Pronouns such as “nobody”, “anybody” and “no one” are even Augmenting that sense of distance. However, “you” and “we” are more confusing. “You”, in this song, does not refer to a specific person, but is impersonal:

[PRE-CHORUS] Step out, step outta the sun If you keep gettin’ burned Step out, step outta the sun Because you’ve learned, because you’ve learned

“You” is an impersonal subject of a fact or a given advice. Evan is explaining what someone does when they “keep gettin’ burned”. Because “you” does not refer to a specific person, but can be considered impersonal, this pronoun also creates distance.

All pronouns indicate distance, except for “we”. Although, when looking at the exact lyrics of the song, it could also be listed as describing distance, or at least as indicating change:

[VERSE 3] We start with stars in our eyes We start believin’ that we belong But ev’ry sun doesn’t rise And no one tells you where you went wrong

When using the pronoun “we” in this verse, grouping himself together with others, Evan is reminiscing on earlier times. Then he sings “But ev’ry sun doesn’t rise” and again distances himself from others, saying that “no one tells you where you went wrong”. So, even though there are some instances of pronouns that indicate Evan seeing himself as part of something, it can be said that he feels alone.

One moment in the song where the interaction between the pronouns is used as emphasis, is in the bridge: [BRIDGE] When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? Did I even make a sound? Did I even make a sound? It’s like I never made a sound Will I ever make a sound?

The bridge starts with the impersonal pronoun “you”, but eventually switches to “I”. As was discussed with the metaphor of falling in a forest, Evan is showing his desperation to be seen. He starts with wondering, but eventually switches the focus to himself, picturing himself in the role.

4.2.1.3 The dialogue preceding Waving Through a Window (reprise #1)

In the next scene, and thus directly following Waving Through a Window, Evan is still at school when his mother Heidi calls. She is unable to drive Evan to his therapist’s appointment and she feels bad about that:

NV1 [Heidi, in her nurse’s scrubs, on her cell phone, a bit harried, an eye on the clock. Evan, at school, on his phone.]

1. Heidi (i) Shit [Affect: -hap], honey [Affect: +hap] [Augmenting]. (ii) I know [Proclaim: concur] (iii) I was supposed to pick you up for your appointment [Judgement: -ten]. (iv) I’m stuck at work [Affect: -hap]. (v) Erica called in with the flu (vi) and I’m the only other nurse’s aide on today, (vi) so I volunteered to pick up her shift … [Affect: -sec]

NV2 [Evan is used to this, almost expecting it.]

2. Evan (i) It’s fine [Affect: -hap].

Extract 14 Dialogue preceding WTAW #1 (turns 1-2)

Heidi curses, saying “shit” (1i), which already introduces her annoyance about something. This is opposed to the Affection that comes with the noun “honey” (1i). The contrast Augments her Unhappiness as she is disappointing someone who means a lot to her. Heidi acknowledges their agreement, but states that she is “stuck at work” (1iv). The choice of words clearly show her Unhappiness with the situation. She then continues to explain why she had to change plans. The fact that she lets the sentence trail off at the end of that explanation shows her Insecurity as she feels guilty for not being able to fulfil her promise. Evan replies with “It’s fine” (2i), but the non-verbal information indicates that he almost expected this to happen, which makes his utterance “It’s fine” (2i) an exclamation of disappointment, and thus Unhappiness. Heidi tries to make Evan see her reasoning by explaining the circumstances in more detail:

3. Heidi (i) It’s just [Focus], (ii) they announced [Attributive: acknowledge] more budget cuts this morning [Affect: -hap], (iii) so anything I can do to show (iv) that I’m, you know [Affect: -sec] [Entertain], a team player [Judgement: +prop] [Affect: - hap] … [Affect: -sec] 4. Evan (i) It’s fine [Affect: -hap]. (ii) I’ll take the bus.

Extract 15 Dialogue preceding WTAW #1 (turns 3-4) 44

Heidi begins her explanation with “it’s just” (3i). According to the Collins English dictionary the phrase “It’s just that” is used “when you are making a complaint, suggestion, or excuse, so that the person you are talking to will not get annoyed with you” (Collins English dictionary, “It’s just that”). Heidi recognises Evan’s disappointment and wants to explain that it was a reasoned decision. The adverb “just” Focusses the attention on the fact that she wants to elaborate. She then acknowledges that “they announced more budget cuts” (3ii), stating it as a fact and thus not taking a stance towards that decision. However, taking into account that she uses this as an argument to pick up an extra shift, it has to be said that she is Unhappy with the situation. That is also made clear in the sentences that follow: implicitly she is stating that she fears losing her job and therefore needs to prove that she is “a team player” (3iv). Her Insecurity is again shown as she says “you know” (3iv), wanting to make sure Evan understands. Evan replies with “It’s fine” (4i), offering a solution when he says “I’ll take the bus” (4ii). It shows his Unhappiness as Evan has already resigned himself to going alone. However, it is important for Heidi to be able to explain herself and she is relieved when Evan will still make it to his appointment:

5. Heidi [Relieved] (i) Perfect. (ii) That’s perfect [Augmenting] [Affect: -sec]. (iii) Oh (iv) and I’m going straight from here to class, (v) so I won’t be home until late [Affect: -hap], (vi) so please [Focus] eat something. (vii) We’ve got those Trader Joe’s dumplings [Affect: +hap] in the freezer … [Affect: -sec] 6. Evan (i) Maybe [Entertain] [Affect: -hap].

Extract 16 Dialogue preceding WTAW #1 (turns 5-6)

The fact that she repeats “perfect” (5i-ii) is more to convince herself, than it is to convince Evan. It shows her Insecurity over not knowing if she has made the right decision. She continues by explaining that she will have to go straight to class after her extra shift and that she will not be home for dinner. She urges Evan to eat something, even adding “please” (5vi) to emphasise. She reminds him of “those Trader Joe’s dumplings” (5vii) in the fridge, which implies that Evan likes those. Evan’s answer, however, is half-hearted, as he replies with “maybe” (6i), only Entertaining it as an option. Heidi changes the topic to Evan’s therapist appointment:

7. Heidi (i) Did you write one of those letters yet? (ii) Dr. Sherman’s expecting [Proclaim: concur] you to have one. (iii) “Dear Evan Hansen. This is going to be a good day and here’s why”? 8. Evan [Lying] (i) Yeah [Proclaim: concur], (ii) no [Disclaim: counter], (iii) I already [Disclaim: counter] finished it. (iv) I’m in the computer lab right now, (v) printing it out.

Extract 17 Dialogue preceding WTAW #1 (turns 7-8)

She asks about the assignment Evan is supposed to bring to the appointment. To help him with his anxiety he is told to write himself letters starting with the sentence “Dear Evan Hansen. This is going to be a good day and here’s why”. When Heidi says “Dr. Sherman’s expecting” (7ii), she is implying her agreement with the therapist. She is using his name, or authority, to remind Evan of his assignment. Evan Concurs, agreeing that he is supposed to bring a letter to the appointment, but he Counters the assumption that he would not yet have finished the letter. Evan, however, is lying: although he is in the computer lab already, he still has to write the letter. But Heidi seems to believe him and she expresses her desire for Evan to have had a good first day of school:

9. Heidi (i) I hope [Affect: des] (ii) it was a good [Appreciation: +reac] day, sweetheart [Affect: +hap]. 10. Evan (i) It was … [Proclaim: concur] (ii) yeah [Augmenting], (iii) it was really [Augmenting] great [Appreciation: +reac] [Proclaim: concur]. 11. Heidi (i) Great [Appreciation: +reac]. (ii) That’s great [Appreciation: +reac] [Augmenting] [Affect: -sec]. (iii) I hope [Affect: des] (iv) it’s the beginning of a great [Appreciation: +reac] year. (v) I think [Entertain] (vi) we both could use one of those, huh [Entertain]? (vii) Shit [Affect: -hap]. (viii) I have to run. (ix) Bye. (x) I love [Affect: +hap] you.

NV3 [Heidi hangs up and goes.]

12. Evan (i) Bye [Affect: -hap].

NV4 [A long moment alone. Evan opens his laptop and begins to compose his letter.]

Extract 18 Dialogue preceding WTAW #1 (turns 9-12)

The adjective “good” in “a good day” (9ii) should, as was the case in the previous data set (“You had a good summer?” (23iii), data set 4.2.1.1), be labelled with Appreciation: reaction. Heidi is not Valuing Evan’s day, but she is prompting for a reaction on his experience back at school. She calls her son “sweetheart” (9ii), again showing her Affection and love for Evan. Evan keeps lying, Concurring with her and Augmenting his statement, adding that it was “really great” (10iii). Heidi’s reaction is carefully optimistic when she says “Great. That’s great” (11i-ii). The fact that she repeats it twice again Augments her Insecurity: she so desperately wants it to be different, that she repeats it twice, needing it to convince herself. She audibly voices that desire for change when she says “I hope it’s the beginning of a great year” (11iii-iv). She prompts Evan to engage in the conversation, saying “I think we could both use one of those, huh?” (11v-vi). Then Heidi curses again, showing her Unhappiness: she has to run to get back to work. She quickly adds “Bye. I love you” (11ix-x), again showing her Affection. However, before Evan can answer, she has hung up the phone and his “bye” (12i) is no longer heard by his mother. He starts writing his assignment:

13. Evan (i) Dear Evan Hansen:

(ii) It turns out, (iii) this wasn’t [Disclaim: deny] an amazing [Appreciation: neg. +reac] day after all [Augmenting] [Affect: -hap]. (iv) This isn’t [Disclaim: deny] going to be an amazing [Appreciation: neg. +reac] week or an amazing [Appreciation: neg. +reac] year [Augmenting] [Affect: -hap]. (v) Because … why would it be [Affect: -hap]?

Extract 19 Dialogue preceding WTAW #1 (turn 13 - part 1)

As his therapist told him to do, he addresses himself and starts writing. However, instead of continuing with the phrase “This is going to be a good day and here’s why”, Evan voices his Unhappiness over everything that has happened on this first day of school. He Denies it being “an amazing day” (13iii) and even Augments that feeling by adding “after all” (13iii) at the end. This indicates that he had been willing to give it a chance and that he had hoped it would be different this year, but it had not happened “after all” (13iii). That feeling of Unhappiness is Augmented even more when he Negates more positive Reactions, saying that it will not be “an amazing week” or an “amazing year” (13iv). He is looking further than only this day, already anticipating that the year will not be any different at all. His Unhappiness is also shown when he tells himself that there is no reason for it to be any better, “Because … why would it be?” (13v). Then he Sarcastically does list a reason for things to get better:

13. Evan (vi) Oh (vii) I know [Sarc. Affect: +hap]. (viii) Because there’s Zoe [Appreciation: +val]. (ix) And all my hope [Augmenting] is pinned on Zoe [Appreciation: +val] [Judgement: -cap] [Augmenting]. (x) Who I don’t [Disclaim: deny] even [Disclaim: counter] know (xi) and who doesn’t [Disclaim: deny] know me [Affect: -hap] [Judgement: -cap] [Augmenting]. (xii) But maybe [Entertain] [Affect: -sec] if I did. (xiii) Maybe [Entertain] [Affect: -sec] if I could just [Focus] talk to her [Affect: des], (xiv) then maybe [Entertain] [Affect: -sec] … (xv) maybe [Entertain] [Affect: -sec] nothing [Augmenting] would be different [Appreciation: neg. +reac] at all [Augmenting] [Judgement: -cap].

Extract 20 Dialogue preceding WTAW #1 (turn 13 - part 2)

Evan’s Sarcasm aimed at himself is another example of evaluative indirect opposites as he pretends to find a reason for things to change in the future:

First level: “Oh I know [Affect: +hap].”

Second level: sarcasm (evaluative indirect opposites)

Oh I know. He cannot find a reason. [Sarc. Affect: +hap] [Affect: -hap]

Intermediate step: He fakes being able to name a reason for things to become better. Normative scale: “happiness” (positive to negative)

Sarcastic utterance 5 Evan (13vii) - evaluative indirect opposites

His reason is Zoe Murphy, who is Connor’s sister. Evan has always had a crush on her, but never found the courage to actually engage in a conversation. In other words, it can be stated that Evan has created his own idealised image of Zoe, Valuing her as the person who will make everything better. That sense of longing hope is Augmented because of the repetition: it will get better “Because there’s Zoe” (13viii), and “all my hope is pinned on Zoe” (13ix). He is Judging his own naivety for putting all his faith in someone “who I don’t even know and who doesn’t know me” (13x-xi). The instances of Deny and Counter are in direct contrast with Evan’s extensive use of the adverb “maybe” in the following lines. Whereas he was first pointing out that they are strangers, he is now Entertaining the idea that it could be possible for them to get to know each other. This Evokes Insecurity, but he is trying to convince himself that things can be different: he would just have to talk to her. His pep talk to himself, however, 48

is quickly cut off as he first hesitantly adds another “then maybe …” (13xiv) without finishing the sentence, and then continues, saying “maybe nothing would be different at all” (13xv). By opposing “nothing” (13xv) to “different” (13xv), Evan is negating a positive Reaction. This sudden change in mood shows Evan harshly Judging his own naivety again as he points out that “nothing” will change. Similar to when he said “after all” (13iii) in the first part of his letter, “at all” (13xv) also Augments Evan’s Unhappiness. Even though his hope had always been Zoe, he gives up, no longer believing that she could change anything. Followingly, he voices some wishes:

13. Evan (xvi) I wish [Affect: des] (xvii) that everything [Augmenting] was different [Appreciation: +reac] [Affect: -hap]. (xviii) I wish [Affect: des] (xix) that I was a part of … [Augmenting] something [Augmenting] [Affect: -hap]. (xx) I wish [Affect: des] [Augmenting] (xxi) that anything [Augmenting] I said … [Augmenting] mattered to anyone [Augmenting] [Affect: -hap]. (xxii) I mean [Proclaim: Pronounce], (xxiii) face it [Judgement: -cap]: (xxiv) would anybody [Augmenting] even [Disclaim: counter] notice (xxv) if I disappeared tomorrow [Affect: -hap]?

(xxvi) Sincerely, your best [Judgement: +ten] and most [Augmenting] dearest [Judgement: +ten] [Augmenting] friend, Me [Affect: -hap].

Extract 21 Dialogue preceding WTAW #1 (turn 13 - part 3)

His wishes again show his Unhappiness. If “everything” (13xvii) would be different, he would be happy. He sees difference as what he needs, and is Augmenting it, voicing it as if there is absolutely nothing in his life he would want to keep. He wants to be “part of … something” (13xix) and he wishes that “anything [he] said … mattered to anyone” (13xxi). Multiple features Augment his longing when expressing his wishes: he presents his wishes in a list by repeating the same grammatical structure of “I wish”, he pauses in the middle of stating his wishes and uses pronouns such as “something” (13xix), “anything” (13xxi) and “anyone” (13xxi). However, again he is Judging himself for remaining hopeful when he says “I mean, face it” (13xxii-xxiii). “I mean” (13xii) is used as a clarifying statement, used in the sense of modifying what has been said before (Urban Dictionary, “I mean”). In other words, it is an example of Pronounce as Evan is ruling out any reason to keep hoping. Especially followed by “face it” (13xxii), this instance shows clear Judgement towards Evan. He questions if “anybody [would] even notice if [he[ disappeared tomorrow” (13xxiv-xxv): Evan’s Unhappiness culminates in him believing

that no one would notice his absence. Finally, the letter closing also indicates Unhappiness. He Judges himself positively and Augments this when he says he is his “best and most dearest friend” (13xxvi). Taking into account the content of his letter, this overly positive Judgement of himself can be analysed as him feeling different and alone.

4.2.1.4 The dialogue preceding Waving Through a Window (reprise #2)

This final data set of the first case study follows quickly after the previous dialogue. Connor met Evan in the computer lab, but because of a misunderstanding Connor took the letter from Evan and angrily left. When Connor has not been at school for three days, Evan panics and messages Jared, explaining what has happened:

[Evan and Jared, online]

Extract 22 Dialogue preceding WTAW #2 (turns 1-5)

Jared’s first reaction is to Judge Evan for writing a letter to himself. He is sceptical when he says: “what does that even mean?” (1ii). The Urban Dictionary defines the expression as “a more abrupt version of ‘that doesn’t make sense’ or ‘that’s not relevant’” (Urban Dictionary Online, “what does that even mean?”). Not only is the Judgement already Augmented by using this expression, he also curses when he says “What the crap” (1ii). He asks if “it’s like, some kind of sex thing?” (1iii), Mitigating the utterance by using “some kind of” (1iii). Evan Denies: he first says “no” (2i) and then explicitly states that “It’s not a sex thing” (2ii). He explains that “it was an assignment” (2iii), but his Insecurity can be seen in the fact that he hesitates when explaining. In response, Jared questions why Evan would be telling him about his encounter with Connor, Judging him for making that decision. Evan claims that “[he] didn’t know who else to talk to” (4i). He wants to explain that Jared is his only friend, but catches

himself and corrects, instead saying “family friend” (4ii). These utterances are filled with Unhappiness: the only person he knows how to talk to does not consider them friends. Jared does not hide how pathetic he thinks that sounds and responds with “Oh my God” (5i). Evan, however, is panicking and asks for guidance on what to do, showing his Insecurity:

6. Evan (i) I don’t know (ii) what to do [Affect: -sec]. (iii) He stole [Judgement: -prop] the letter from me three days ago, (iv) and then he just [Focus] [Affect: -sec], (v) he hasn’t [Disclaim: deny] been at school since [Affect: -sec]. 7. Jared (i) That does not [Disclaim: deny] bode well [Affect: -hap] for you. 8. Evan (i) What is he going to do with it [Affect: -sec]?

Extract 23 Dialogue preceding WTAW #2 (turns 6-8)

He continues to explain why the situation makes him Insecure: Connor has not been at school since he stole the letter three days earlier. Evan is Judging Connor as he says he “stole the letter from me” (6iii). However, the Judgement is rather weak: the Focus is not on the Judgement towards Connor, but more on the Insecurity Connor’s actions caused. This Insecurity is highlighted when he first says “just”, Focusing the attention and gathering his thoughts, before continuing with what he wanted to say. Jared seems to enjoy Evan’s misery and responds with “that does not bode well for you” (7i), indicating Unhappiness for Evan. That response heightens Evan’s Insecurity and he asks another question about what is going to happen. Jared’s respond is still not comforting:

9. Jared (i) Who knows [Judgement: -norm]? (ii) Connor Murphy is batshit [Judgement: -norm] [Augmenting] out of his mind [Augmenting]. (iii) Do you remember (iv) when he threw a printer at Mrs. G in second grade, (v) because he didn’t get to be line leader that day [Judgement: -norm]? 10. Evan (i) Do you think (ii) he’s going to show the letter to other people [Affect: - sec]? 11. Jared [Obviously] (i) He’s going to ruin your life [Augmenting] with it [Proclaim: concur]. (ii) For sure [Augmenting]. (iii) I mean [Proclaim: pronounce], (iv) I would [Entertain] [Augmenting].

Extract 24 Dialogue preceding WTAW #2 (turns 9-11)

He first says “who knows?” (9i), which the Urban Dictionary explains as a statement saying “I don’t know, and I don’t know anyone who does know” (Urban Dictionary, “Who knows”). He is Judging Connor’s behaviour, which he elaborates on in the following sentence. He calls Connor “batshit” (9ii), which is slang to say that he is completely mad or crazy (Mirriam-Webster, “batshit”). Jared Augments this Judgement adding “out of his mind” (9ii), which is slang for crazy (The Free Dictionary, “out of (one’s) mind”). He recalls a moment in second grade to argue that statement. Evan does not respond, but his Insecurity is shown when he asks yet another question. Jared immediately confirms his fears, even Augmenting it: Connor is not only going to show other people, he will also “ruin [Evan’s] life with it” (11i). Jared does nothing to ease Evan’s mind as he keeps Augmenting when saying “For sure” (11ii) and “I mean, I would” (11iii-iv). “I mean” (11iii) is again a clarifying statement (Urban Dictionary, “I mean”), voicing authority as Jared does not doubt to be stating the obvious. By adding “I would” (11iv) he does Entertain, leaving the space open for others to disagree. That last statement claims that Jared believes everyone would do it, not only ‘crazy people’ like Connor.

4.2.2 Results

Whereas the close reading highlighted the understanding of the context for each utterance, the results section will be analysing each data set focussing on how each category is used. These categories were Attitude (feelings), Engagement (interaction with other voices) and Graduation (amplification of Attitudes).

4.2.2.1 The dialogue preceding Waving Through a Window

The dialogue before WTAW featured four characters: Evan, Alana, Jared and Connor. More specifically, the set can be divided into four different conversations building up to the song: Evan talking to Alana, Evan talking to Jared, Jared talking to Connor (with Evan silently present) and Evan talking to Connor. The following table describes each conversation in numbers, indicating the number of turns and number of words per character:

CONVERSATION IN NUMBERS Number of turns Number of words Number of words (%) Evan 4 35 32% Alana 6 75 68% Full Conversation 10 110 100% Evan 10 151 52% Jared 10 139 48% Full Conversation 20 290 100% Evan 0 0 0% Jared 3 23 56% Connor 1 18 44% Full Conversation 4 41 100% Evan 4 9 26% Connor 5 25 74% Full Conversation 9 34 100% Table 1 Dialogue preceding WTAW: conversation in numbers

It is clear that not all conversations are of the same length, neither are all words equally divided between the two participants. For Evan’s conversation with Jared and Jared’s conversation with Connor the number of words are more or less equal. That difference is bigger in the conversations between Evan and Alana (Evan only utters 32% of the words) and the conversation between Evan and Connor (Evan only utters 26% of the words).

4.2.2.1.1 Attitude

An overview of all instances of Attitude are shown in table 2. Immediately it is clear that Evan uses many instances of Affect: 27 instances, in comparison to the other two categories Judgement and Appreciation, with respectively 3 and 5 utterances. In each of the conversations in this data set, Evan mostly uses Affect. The same cannot be said for the other characters: Alana also uses most instances of Affect, but both Jared and Connor use more instances of Judgement, not only in their conversation with Evan, but also in the conversation with each other where Evan is a silent participant.

ATTITUDE: OVERVIEW ATTITUDE: AFFECT Affect Judgement Appreciation Total Evan 27 3 5 35 Alana 4 - 2 6 Jared 6 13 5 24 Connor - 8 3 11 Total 37 24 15 76 Table 2 Dialogue preceding WTAW: overview of all utterances of Attitude

ATTITUDE: OVERVIEW ATTITUDE: AFFECT Affect Judgement Appreciation Total Evan 5 - 2 7 Alana 4 - 2 6 Total 9 - 4 13 Evan 18 3 3 24 Jared 4 12 3 19 Total 22 15 6 43 Evan - - - - Jared 2 1 2 5 Connor - 2 3 5 Total 2 3 5 10 Evan 4 - - 4 Connor - 6 - 6 Total 4 6 - 10 Table 3 Dialogue preceding WTAW: utterances of Attitude per conversation

In the first conversation between Alana and Evan the largest subcategory is thus Affect, using respectively 5 and 4 instances. Within this category, however, there is a difference in use. As shown in table 4, Evan’s instances of Affect are all linked to Insecurity, while Alana uses instances expressing both Happiness and Satisfaction.

ATTITUDE: AFFECT ATTITUDE: JUDGEMENT (un)Happiness (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T T Ev Ins Des T Evan ------5 - - 5 ------5 - - - 5 Alana 1 - - - 1 ------3 - - - 3 - - 4 - - - - 4 Total 1 - - - 1 ------5 - - 5 3 - - - 3 - - 4 5 - - - 9 Table 4 Conversation between Evan and Alana: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

Alana opens with a story about the summer, showing her Satisfaction over her accomplishments: she “did three internships and ninety hours of community service” (3ii) and she “made some great friends. Or, well, acquaintances, more like.” (5ii-v). Next, she shows her Happiness with a cheery “Happy first day” (10i) at the end of their conversation. Evan, on the other hand, shows many signs of Insecurity, both in his responses as in the way he is speaking with several pauses. He replies with a hesitant “My … ?” (2i) when Alana asks about his summer and with “Oh” (8i) when she wants to know what happened to his arm. Both times he was not anticipating her to ask him anything. Evan is also very Insecure when he asks Alana to sign his cast, saying “Do you want to maybe … I don’t know what you’re, um … do you want to sign my cast?” (6i-iv).

Although both Jared and Connor use more Judgement, there are also some instances of Affect. Again, Evan uses many instances of Insecurity: 12 during his conversation with Jared (table 5), and 4 when talking to Connor (table 6). In the conversation with Jared, he pauses, uses “um” (14v) and continuously restates sentences. He will also often redirect the topic or Concur: he says “anyway” (17i) when Jared does not comment on Evan’s accomplishments, he asks about Jared’s summer (23i-iii) when his funny story fails and he simply Concurs saying “I will” (30i) when Jared wants him to lie to his mother. He also becomes very Insecure when Jared claims them not to be friends, saying “Well, just, I thought, because we’re friends” (27i-iv): he immediately doubts himself.

ATTITUDE: AFFECT ATTITUDE: JUDGEMENT (un)Happiness (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T T Ev Ins Des T Evan ------12 - - 12 3 - 1 - 4 2 2 3 12 1 - 2 18 Jared ------3 - 1 - 4 - - 3 - 1 - - 4 Total ------12 - - 12 6 - 2 - 8 2 2 6 12 2 - 2 22 Table 5 Conversation between Evan and Jared: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

Next to Evan’s Insecurity, both Evan and Jared also use instances of Satisfaction: Evan 4 and Jared 3. As was the case with Alana, these feelings of Satisfaction occur when they are talking about their summer: Evan is proud to be “sort of a tree expert” (16vi) because of his job as “an apprentice park ranger” (16v), while Jared met “a girl from Israel who’s going to be like in the army” (iii-iv) and won a game (24ii). Finally, when telling the story of how he fell from a tree, Evan also voices his Desire twice for someone to find him (19vii-viii).

ATTITUDE: AFFECT ATTITUDE: JUDGEMENT (un)Happiness (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T T Ev Ins Des T Evan ------Jared ------2 - - 2 ------2 - - - 2 Connor ------Total ------2 - - 2 ------2 - - - 2 Evan ------4 - - 4 ------4 - - - 4 Connor ------Total ------4 - - 4 ------4 - - - 4 Table 6 Conversation between Evan, Jared and Connor, Evan and Connor: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

In the conversation between Jared and Connor, where Evan is a silent participant, only Jared uses instances of Affect (table 6): he shows his Insecurity when he clarifies that “[he] was kidding. It was a joke.” (32i-ii). Finally, in Evan’s conversation with Connor, the only instances of Affect are indicating Evan’s Insecurity. At first, Evan asks clarification saying “what?” (36i) and when Connor becomes more and more enraged, Evan continuously Denies Connor’s statements.

With regard to Judgement, Evan’s conversation with Alana does not show any instances. This is different from the other three conversations which are filled with Judgement (tables 7-8): ATTITUDE: JUDGEMENT ATTITUDE: JUDGEMENT Judgement of Esteem Judgement of Sanction Capacity Capacity Sarc. Normality Normality neg. Normality Sarc. Tenacity Veracity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------Alana ------Total ------Evan - - 1 - 1 ------Jared - 4 - - 4 1 - - - 1 - 6 - - 6 ------Total - 4 1 - 5 1 - - - 1 - 6 - - 6 ------Evan ------Jared ------1 1 ------Connor - 2 - - 2 ------Total - 2 - - 2 ------1 1 ------Evan ------Connor ------2 2 - - - 1 1 ------Total ------2 2 - - - 1 1 ------Table 7 Dialogue preceding WTAW: subcategory of Attitude: Judgement, subsubcategory Judgement of Esteem (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

ATTITUDE: JUDGEMENT ATTITUDE: APPRECIATION Judgement of Sanction Total Veracity Veracity neg. Veracity Sarc. Propriety Propriety neg. Propriety Sarc. Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------Alana ------Total ------Evan - 1 - - 1 ------1 1 ------1 1 1 3 Jared ------1 - 1 ------1 10 1 - 12 Total - 1 - - 1 ------1 1 2 ------1 11 2 1 15 Evan ------Jared ------1 1 Connor ------2 - - 2 Total ------2 - 1 3 Evan ------Connor ------3 3 ------6 6 Total ------3 3 ------6 6 Table 8 Dialogue preceding WTAW: subcategory of Attitude: Judgement, subsubcategory Judgement of Sanction (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

In Evan’s conversation with Jared both Judge themselves and the other, although there is a clear difference in number: Jared uses 12 instances, whereas Evan only uses 3. The difference is found in the fact that Jared is constantly Judging Evan, while Evan does not respond with Judgement himself. Only once Evan Judges Jared’s Veracity in response to Jared making up a story about how Evan broke his arm. Evan’s other instances of Judgement are aimed at himself: he positively Judges his Capacity, stating that he is “sort of a tree expert now” (16vi), but then reprimands himself for bragging (16vii). Jared, on the other hand, is constantly Judging Evan. All instances are negative apart from one Sarcastic utterance, where he pretends to be interested in what has happened to Evan (11i-iv). Regarding Evan falling from a tree, Jared is constantly Judging his Normality: he repeats that Evan fell out of the tree (15i + 18i), calls him “an acorn” (15ii) and utters “Jesus Christ” (22i) when Evan reveals no one coming to help him was the funny part of the story. Jared is also continuously Judging Evan’s Capacity in relation to Evan being unable to define their friendship: Evan regards Jared as a friend, whereas Jared only calls them “family friends” (28i). That is why, when Evan asks Jared to sign his cast, Jared responds with “Why are you asking me?” (26i). Next, he reminds Evan of the fact that he should know that, stating “We’re family friends. That like a whole different thing and you know it” (28i-iii). The Judgement towards himself, in contrast, is positive. He Judges his own Propriety, ordering Evan to tell his mother that Jared was nice to him.

ATTITUDE: JUDGEMENT ATTITUDE: JUDGEMENT Judgement of Esteem Judgement of Sanction Capacity Capacity Sarc. Normality Normality neg. Normality Sarc. Tenacity Veracity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Jared ------1 1 ------Connor - 2 - - 2 ------Total - 2 - - 2 ------1 1 ------Evan ------Connor ------2 2 - - - 1 1 ------Total ------2 2 - - - 1 1 ------Table 9 Dialogue preceding WTAW, conversation between Jared-Connor and Evan-Connor: subcategory of Attitude: Judgement, subsubcategory Judgement of Esteem (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

ATTITUDE: JUDGEMENT Judgement of Sanction Total Veracity Veracity neg. Veracity Sarc. Propriety Propriety neg. Propriety Sarc. Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Jared ------1 1 Connor ------2 - - 2 Total ------2 - 1 3 Evan ------Connor ------3 3 ------6 6 Total ------3 3 ------6 6 Table 10 Dialogue preceding WTAW, conversation between Jared-Connor and Evan-Connor: subcategory of Attitude: Judgement, subsubcategory Judgement of Sanction (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

In the conversation between Jared and Connor, both Judge the other. Connor reproaches Jared to be unable to see him laughing, saying “Can’t you tell? Am I not laughing hard enough for you?” (33v-vi) and Jared calls Connor “a freak” (34i). Finally, in the conversation between Connor and Evan the Judgement is one-sided as only Connor voices Judgement, both towards himself and towards Evan. He Judges himself twice for being a freak: once he asks Evan if he thinks Connor is a freak (39i-ii) and once he Negates being a freak (41i). Connor also Judges Evan, both his Propriety and his Normality. He Judges Evan for laughing at him (35i + 37i), for thinking Connor is a freak (39i-ii), and eventually calls him “the fucking freak” (43i).

The final category of Attitude is Appreciation, which is used in nearly all conversations, as is shown in the following table:

ATTITUDE: APPRECIATION ENGAGEMENT: OVERVIEW Reaction Reaction: neg. Reaction Sarc. Valuation Valuation: neg. Total Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------2 - 2 ------2 - 2 Alana ------2 - 2 ------2 - 2 Total ------4 - 4 ------4 - 4 Evan - - 1 - 1 ------2 - 2 ------3 - 3 Jared - - 2 1 3 ------2 1 3 Total - - 3 1 4 ------2 - 2 ------5 1 6 Evan ------Jared ------2 - - - 2 ------2 - - - 2 Connor ------2 - 1 - 3 ------2 - 1 - 3 Total ------4 - 1 - 5 ------4 - 1 - 5 Evan ------Connor ------Total ------Table 11 Dialogue preceding WTAW: subcategory of Attitude: Appreciation (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

In his conversation with Alana, there are two positive instances of Valuation, both linked to something Alana has accomplished: her summer was “productive” (3i) and she anticipates that Evan’s opinion aligns with hers, namely “wow” (3iv). As expected, Evan indeed Concurs by parroting that opinion (4iii) and calling it “really impressive” (4iv). In his conversation with Jared, Evan claims to tell “a funny story” (19ii) about his fall and how he waited for help, but he realises he has wrongly Valuated the story when he has to explain what the funny part is (21iii). His positive Valuation is not responded to by Jared and therefore he asks for a Reaction about Jared’s summer, asking if he had “a good summer” (23iii). Jared’s Reaction is positive as he recalls a girl from Israel (24iii) and objectifies her. The conversation between Jared and Connor is filled with Sarcastic positive Reactions: Jared claims to love Connor’s new hair length and describes it as “very school shooter chic” (31iii), while Connor Sarcastically Concurs with Jared, saying that his joke “was funny” (33iii) and that he is laughing (33iv). In the final conversation there are no instances of Appreciation — nor positive, nor negative.

4.2.2.1.2 Engagement

The results from the second category of the Appraisal model show a clear favour for Contracting the dialogic space: of the 27 utterances of Engagement, 25 are Contracting the dialogic space. More specifically, as shown in table 13, both utterances Opening up the dialogic space Entertain and are uttered by Evan: once he timidly adds “maybe” (6i) when he asks Alana to sign his cast and once he says to Jared that “[he] thought” (27iii) they were friends. So, when he adds his own questions or thoughts to the conversation, he leaves an Opening for the other to disagree.

ENGAGEMENT: OVERVIEW ENGAGEMENT: OPEN Open Contract Total Evan 2 14 16 Alana - 2 2 Jared - 1 1 Connor - 8 8 Total 2 25 27 Table 12 Dialogue preceding WTAW: overview of all utterances of Engagement

ENGAGEMENT: OPEN Attributive Entertain Total Evan - 2 2 Alana - - - Jared - - - Connor - - - Total - 2 2 Table 13 Dialogue preceding WTAW: overview subcategory of Engagement: opening up the dialogic space

With regard to the instances Closing the dialogic space, Evan uses 14 to either Concur, Deny or Counter what another person says. He Concurs with Alana 3 times, complimenting her accomplishments (4i-iv) and easily agrees with Jared to tell their mothers Jared was nice to him (30i). However, in his conversation with Jared, Evan will mostly Deny: 3 times he uncomfortably Denies Jared’s sexual insinuation about what happened to Evan’s arm and 2 times he replies negatively on the question if anyone came looking for him when he fell out of a tree. Finally, in the short conversation with Connor, Evan uses many instances of Denying. Even though Evan only has 4 turns in that conversation, 3 of those are labelled with [Disclaim: deny]. When Denying does not have the favoured effect, he adds “but” (42i), Countering the continuous Judgement of Connor towards Evan.

ENGAGEMENT: CONTRACT GRADUATION: OVERVIEW Disclaim Proclaim Total Counter Deny Total Concur Concur Sarc. Endorse Pronounce Total Evan 1 9 10 4 - - - 4 14 Alana 1 - 1 1 - - - 1 2 Jared 1 - 1 - - - - - 1 Connor 1 4 5 - 2 - 1 3 8 Total 4 13 17 5 2 - 1 8 25 Evan - - - 3 - - - 3 3 Alana 1 - 1 1 - - - 1 2 Total 1 - 1 4 - - - 4 5 Evan - 5 5 1 - - - 1 6 Jared 1 - 1 - - - - - 1 Total 1 5 6 1 - - - 1 7 Evan ------Jared ------Connor - 3 3 - 2 - - 2 5 Total - 3 3 - 2 - - 2 5 Evan 1 4 5 - - - - - 5 Connor 1 1 2 - - - 1 1 3 Total 2 5 7 - - - 1 1 8 Table 14 Dialogue preceding WTAW: overview subcategory of Engagement: contracting the dialogic space

Apart from Evan, the other characters also use instances Contracting the dialogic space. Alana already anticipates Evan’s answer to her accomplishments when she says “I know: wow” (3iii-iv) before Evan has had a chance to respond. She also Counters the fact that she would not have had time in the summer to make friends (5i-v). Jared, in the following conversation, Counters Evan, saying that they are “family friends” (28i) rather than friends. When talking to Jared, Connor Sarcastically Concurs twice, stating that he did think Jared’s joke was funny (33i-iii). He also Denies 3 times: once on the implication that Connor would not be enjoying the joke and two times when Judging Jared when he says “can’t you tell?” (33v) and “Am I not laughing hard enough for you?” (33vi). Finally, in Evan’s conversation with Connor, Connor also Counters and Denies, saying that “[He’s] not a freak” (41i) and “[Evan’s] the fucking freak” (43i). He also uses authority to state that Evan thinks that Connor is a freak (39i-ii).

4.2.2.1.3 Graduation

The final category is Graduation of which the largest subcategory for this data set is Augmenting. Of the 9 instances Evan uses, 4 Augment his Insecurity. In other words, many indications of Insecurity are used in the same sentence. For instance, when asking Alana to sign his cast Evan says “Do you want to maybe … I don’t know what you’re, um … do you want to sign my cast?” (6i-iv). The use of “maybe”, “um” and the pauses before continuing indicate his Insecurity. Evan will also Augment for dramatic effect: when telling Jared about breaking his arm, he talks about a “forty-foot-tall oak tree” (17iii), uses “this solid ten minutes” (19iii) to create a time frame and repeats the same structure in “Any second 61

now, I kept saying to myself. Any second now, here they come” (19vii-viii) to add tension to the story. Finally, he also Augments his Valuation towards Alana’s accomplishments, saying “really impressive” (4iv). To talk about his own accomplishments or opinions, however, Evan will Mitigate his utterances. He claims to be “sort of a tree expert” (16vi) and when he does not receive the desired response from Jared he redirects the topic, saying “anyway” (17i): he immediately deems his accomplishments unworthy. Finally, he also Mitigates the importance of him thinking about his friendship with Jared when he uses the adverb “just” in “Well, just, I thought, because we’re friends” (27ii).

GRADUATION: OVERVIEW Enrichment Augmenting Mitigation Focus Total Evan - 9 3 - 12 Alana - 1 1 - 2 Jared 1 4 - 1 6 Connor - 4 - - 4 Total 1 18 4 1 24 Evan - 2 - - 2 Alana - 1 1 - 2 Total - 3 1 - 4 Evan - 7 3 - 10 Jared - 3 - - 3 Total - 10 3 - 13 Evan - - - - - Jared 1 1 - 1 3 Connor - 1 - - 1 Total 1 2 - 1 4 Evan - - - - - Connor - 3 - - 3 Total - 3 - - 3 Table 15 Dialogue preceding WTAW: overview of all utterances of Graduation

With regard to the other characters in the conversation, Alana uses one instance of Augmenting to emphasize her Satisfaction over her accomplishments: by using the adverb “still” (5ii), she wants to emphasize that, despite her busy schedule, she did accomplish even more by making “some great friends” (5ii). However, she also immediately Mitigates, altering the relationship to one of “acquaintances, more like” (5v). Jared mostly Augments his utterances when Judging Evan: he repeats the same structure as Evan to Augment the difference: “we’re family friends” (28i) in response to “because we’re friends” (27iv). It is again Augmented when Jared adds that it is “a whole different thing” (28ii), using the adverb “whole” to emphasize. Another example of Jared Augmenting to emphasize Judgement is his Sarcastic utterance, labelling Evan as “the first person in history to break his arm from jerking off too much” (11ii-iii). Exaggeration is often linked with Sarcasm, as is the case here. However, just like Evan, Jared’s few instances of Insecurity when he talks to Connor are also Augmented: to clarify his statement, Jared says that “[he] was kidding” (32i) and that “it was a joke”

(32ii), repeating the same thing twice. The same effect can be found in Connor’s Sarcastic reply claiming that he did find it “funny” (33iii) and that “[he’s] laughing” (33iv). When he turns to Evan, Connor is Augmenting his utterances by swearing in almost all of his turns.

4.2.2.1.4 Hard to classify

HARD TO CLASSIFY Hard to classify Total Evan - - Alana 2 2 Jared - - Connor - - Total 2 2 Table 16 Dialogue preceding WTAW: overview of utterances Hard to Classify

Finally, there were also two instances that were hard to classify, both uttered by Alana. She says “Oh my God” (7i) and “Oh really?” (9i). As stated, these utterances could be seen as Reactions, but that analysis would be questionable as it does not answer the question of “how good/bad did you find it?” (Eggins & Slade 1997: 127). Neither can it be surprise (and thus Insecurity) as the context makes it hard to be believe that Alana is genuinely surprised.

4.2.2.2 The dialogue preceding Waving Through a Window (reprise #1)

The next dialogue, before the first reprise, features two characters: Evan and his mother Heidi. More specifically, the data set can be divided into two different parts: Evan on the phone with his mother and Evan writing himself a letter. The following tables describe each conversation in numbers, indicating the number of turns and number of words per character:

CONVERSATION IN NUMBERS Number of turns Number of words Number of words (%) Evan 6 33 17% Heidi 6 164 83% Full Conversation 12 197 100% Evan 1 124 100% Full Conversation 1 124 100% Table 17 Dialogue preceding WTAW #1: conversation in numbers

This overview shows an equal number of turns, but a clear difference in number of words: Heidi (83%) talks significantly more than Evan (17%). The difference can be found in the fact that Heidi tries to explain herself, while Evan shortly answers on what she is saying. The self-addressed letter counts 124 words.

4.2.2.2.1 Attitude

An overview of all categories of Attitude show a clear difference in number: Evan barely uses any instances in comparison to Heidi’s 24 instances. Most of those instances are labelled within the category of Affect. The letter also shows many more instances of Affect, although it does count a significant number of instances labelled with Judgement (6) or Appreciation (7) as well.

ATTITUDE: OVERVIEW ATTITUDE: AFFECT Affect Judgement Appreciation Total Evan 4 - 1 5 Heidi 18 2 4 24 Total 22 2 5 29 Evan 18 6 7 31 Total 18 6 7 31 Table 18 Dialogue preceding WTAW #1: utterances of Attitude per conversation

Taking a closer look at the instances of Affect in the phone call (table 19), more than half of the instances are labelled with Unhappiness. Evan’s 4 instances of Affect are all labelled Unhappiness: he says “It’s fine.” (2i + 4i) twice, agreeing with Heidi, but simply because there is no other choice; he half- heartedly replies with “maybe” (6i) when Heidi proposes for him to eat Trader Joe’s Dumplings and finally, he says “bye” (12i) already after his mam has hung up the phone.

ATTITUDE: AFFECT (un)Happiness (un)Happiness neg. (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev T Ev Ins Des T Evan - 4 - - 4 ------4 - - - 4 Heidi 1 4 3 2 10 ------6 - - 6 - - - - - 2 2 1 10 3 2 2 18 Total 1 8 3 2 14 ------6 - - 6 - - - - - 2 2 1 14 3 2 2 22 Table 19 WTAW #1: Conversation between Evan and Heidi: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

Heidi also utters 10 instances of Unhappiness, both Evoked and Inscribed, as well as both positive and negative. All positive utterances are linked to Evan: she lovingly calls him “honey” (1i) and “sweetheart” (9ii) when addressing him, tells him that she loves him (11x) and wants him to be happy when reminding him of “those Trader Joe’s dumplings in the freezer” (5vii). The Unhappiness she voices are due to her decision to take an extra shift: she explicitly curses twice, once when she calls to explain herself (1i) and once when she has to get back to work at the end of the phone call (11vii). She says that she is “stuck at work” (1iv) and that she “won’t be home until late” (5v-vi), explaining that more budget cuts are forcing her to prove that she is a team player. Heidi’s Insecurity about her decision is shown during her explanation: on the one hand, she will often let her sentence trail off as in “so I volunteered to pick up her shift …” (1vi), indicating that she is trying to find reassurance and is waiting for Evan to say something. On the other hand, she will repeat the same utterance, trying to convince herself of its truth when she says “Perfect. That’s perfect.” (5i-ii) and “Great. That’s great.” (11i-ii). Finally, she also voices her Desire for Evan to have had “a good day” (9i-ii) and in extension “a great year” (11iv).

In contrast to Evan’s utterances during the phone call, Evan’s self-addressed letter shows many more instances of Affect:

ATTITUDE: AFFECT (un)Happiness (un)Happiness neg. (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev T Ev Ins Des T Evan - 9 - - 9 - - - - - 1 - - - 1 - 3 - 1 4 - - - - - 4 4 1 12 - 1 4 18 Total - 9 - - 9 - - - - - 1 - - - 1 - 3 - 1 4 - - - - - 4 4 1 12 - 1 4 18 Table 20 WTAW #1 Conversation of Evan: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

He expresses Desire, Unhappiness and Insecurity. He explicitly wishes that “everything was different” (13xvii), that he was “part of … something” (13xix) and that he would “matter to anyone” (13xxi). He also says “maybe if I could just talk to her” (13xiii), which Evokes his wish to talk to Zoe. This longing for change Evokes Unhappiness with his current situation as he is losing faith that it will ever change: “Because … why would it be?” (13v), “this wasn’t an amazing day after all” (13iii) and “this isn’t going to be an amazing week or an amazing year” (13iv). Once he Sarcastically says “Oh I know” (13vi-vii), as if he has the answer. However, he is being Sarcastic and he explains how his hope, Zoe, does not even know him (13xi). His letter closing also Evokes Unhappiness as he signs with “your best and most dearest friend, Me” (13xxvi). His Insecurity is shown through the extensive use of the adverb “maybe”, continuously engaging the idea that the solution is Zoe.

Both Heidi and Evan Judge themselves positively and negatively. During her phone call with Evan, Heidi Judges her Tenacity negatively, as she knows Evan was depending on her to go to his appointment. However, she has to prove to be “a team player” (3iv), Judging her Propriety positively.

ATTITUDE: JUDGEMENT ATTITUDE: JUDGEMENT Judgement of Esteem Judgement of Sanction Capacity Capacity Sarc. Normality Normality neg. Normality Sarc. Tenacity Veracity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------Heidi ------1 - - 1 Total ------1 - - 1 Evan - 4 - - 4 ------2 - 2 Total - 4 - - 4 ------2 - 2 Table 21 Dialogue preceding WTAW #1: subcategory of Attitude: Judgement, subsubcategory Judgement of Esteem (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

ATTITUDE: JUDGEMENT Judgement of Sanction Total Veracity Veracity neg. Veracity Sarc. Propriety Propriety neg. Propriety Sarc. Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------Heidi ------1 - 1 ------1 1 - 2 Total ------1 - 1 ------1 1 - 2 Evan ------4 2 - 6 Total ------4 2 - 6 Table 22 Dialogue preceding WTAW #1: subcategory of Attitude: Judgement, subsubcategory Judgement of Sanction (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

Evan, on the other hand, does not use any Judgement during the conversation with his mother, but his self-addressed letter is filled with negative Judgement towards himself. The only positive instance of Judgement is the letter closing, calling himself his “best and most dearest friend” (13xxvi). The other 4 instances of Judgement are labelled as negative Judgements of Capacity: he continuously Judges his own naivety for believing that Zoe will change his life, and that eventually evolves in Judging himself for believing that anything will ever change.

Finally, the category of Appreciation. The phone call with Heidi only shows 5 instances of Appreciation, 1 from Evan and 4 from Heidi. They talk about how Evan liked his first day at school and how they wish “it’s the beginning of a great year” (11iv).

ATTITUDE: APPRECIATION

Reaction Reaction: neg. Reaction Sarc. Valuation Valuation: neg. Total Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan - - 1 - 1 ------1 - 1 Heidi - - 4 - 4 ------4 - 4 Total - - 5 - 5 ------5 - 5 Evan - - 1 - 1 - - 4 - 4 - - - - - 2 - - - 2 - - - - - 2 - 5 - 7 Total - - 1 - 1 - - 4 - 4 - - - - - 2 - - - 2 - - - - - 2 - 5 - 7 Table 23 Dialogue preceding WTAW #1: subcategory of Attitude: Appreciation (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

In his letter Evan also once uses positive Appreciation: “I wish that everything was different” (13xvi- xvii). All other positive Reactions are grammatically Negated: it “wasn’t an amazing day”, it “isn’t going to be an amazing week or an amazing year” (13iv). Finally, Evan also Values Zoe by objectifying her. He has created this image and pins all his hope on her, believing that she will change everything for him.

4.2.2.2.2 Engagement

A general overview of the second category Engagement (table 24) shows that both Evan and Heidi use 6 instances, although the number of instances Opening and Contracting the dialogic space is different. Evan uses more instances of Contracting the dialogic space, while Heidi uses more instances to Open up the dialogic space.

ENGAGEMENT: OVERVIEW Open Contract Total Evan 1 5 6 Heidi 4 2 6 Total 5 7 12 Evan 4 7 11 Total 4 7 11 Table 24 Dialogue preceding WTAW #1: overview of all utterances of Engagement

Evan’s letter also shows more instances of Contracting the dialogic space, and less instances of Opening up the dialogic space. Looking closely at the first subcategory of Engagement (table 25), there is a favour for the category of Entertain with 4 instances, in contrast to the 1 instance within the category of Attributive.

ENGAGEMENT: OPEN Attributive Entertain Sarc. Entertain Total Evan - 1 - 1 Heidi 1 3 - 4 Total 1 4 - 5 Evan - 4 - 4 Total - 4 - 4 Table 25 Dialogue preceding WTAW #1: overview subcategory of Engagement: opening up the dialogic space

Once, Heidi acknowledges someone else’s opinion when she tells Evan how “they announced more budget cuts this morning” (3ii). The instances labelled Entertain want to include Evan’s opinion or involvement: she says “that I’m, you know, a team player” (3iv), wanting Evan to understand and she says “I think we could both use one of those, huh?”, again seeking his approval. Evan does not really engage with his mother, but when she makes a comment about the Trader Joe’s dumplings he half- heartedly responds with “maybe” (6i), considering the idea. In his letter Evan also uses “maybe”, repetitiously Entertaining the idea whether or not to talk to Zoe and whether or not that would change anything.

The table summarising the instances of Contracting the dialogic space in the phone call (table 26), shows 5 instances of Concurring as well as 2 instances of Countering. Heidi’s Concurring once aligns her with Evan, acknowledging that they had an agreement for her to pick him up after school (1ii-iii), and once aligns her with Dr. Sherman, who had asked Evan to write a letter (7ii).

ENGAGEMENT: CONTRACT Disclaim Proclaim Total Counter Deny Total Concur Concur Sarc. Endorse Pronounce Total Evan 2 - 2 3 - - - 3 5 Heidi - - - 2 - - - 2 2 Total 2 - 2 5 - - - 5 7 Evan 2 4 6 - - - 1 1 7 Total 2 4 6 - - - 1 1 7 Table 26 Dialogue preceding WTAW #1: overview subcategory of Engagement: contracting the dialogic space

Evan also Concurs with Heidi many times: he confirms that the first day of school was “really great” (10iii) and aligns himself with his mother about having to write the letter. However, he immediately Counters Heidi’s implied statement that he would not have finished the letter yet, claiming that he “already finished it” (8iii).

The letter itself is filled with Contracting the dialogic space. First, there is a series of Denied utterances, saying “this wasn’t an amazing day after all. This isn’t going to be an amazing week or an amazing year” (13iii-iv). Evan is constantly Denying the positive adjective “amazing”. Then he continues with another series of Denied and Countered utterances when he talks about Zoe “who I don’t even know and who doesn’t know me” (13x-xi). He also Counters the idea that anybody would notice “if [he] disappeared tomorrow” (13xxiv-xxv), even stating with authority: “I mean, face it” (13xxii).

4.2.2.2.3 Graduation

Finally, there is the category of Graduation. During the phone call Heidi uses 5 instances and Evan uses 2. In the letter, however, Evan uses many more: 17 times he is Augmenting the utterances and once he Focusses.

GRADUATION: OVERVIEW Enrichment Augmenting Mitigation Focus Total Evan - 2 - - 2 Heidi - 3 - 2 5 Total - 5 - 2 7 Evan - 17 - 1 18 Total - 17 - 1 18 Table 27 Dialogue preceding WTAW #1: overview of all utterances of Graduation

Evan Augments his answer when his mother asks how his first day was: he answers twice, saying “It was” (10i) and “yeah, it was really great” (10ii-iii) which is again Augments by using the adverb “really”. Heidi also Augments some utterances, mostly by repeating the exact same thing as in “Great. That’s great.” (11i-ii), which Augments her Insecurity. She also Augments by contrasting a curse word with a word of Affection: “shit, honey” (1i). It Augments the fact that she feels bad about having to change the plans. She also Focusses the attention twice. She says “It’s just, they announced more budget cuts this morning” (3i-ii), where the adverb “just” stops the sentence for a moment, grabs attention before Heidi continues. She also says “so please eat something” (vi), urging Evan to realise its importance.

The letter also shows many instances of Augmenting, as well as 1 instance of Focus. He says “maybe if I could just talk to her, then maybe …” (13xiii-xiv), where the adverb “just” shows his annoyance with the circumstances. He wants to be able to talk to her, but cannot find the courage to take the step. All other instances are labelled within the category of Augmenting. It is often related to the use of the same grammatical structures: he makes a sequence of it not being “an amazing day” (13iv), building it

up until he is talking about it not being “an amazing year” (13iv). He does the same when wishing, repeating the structure “I wish that” 3 times. Also the use of words such as “nothing” (13xv), “everything” (13xvii), “something” (13xix) and “anybody” (13xxiv), as well as sayings such as “after all” (13iii) and “at all” (13xv) Augment his feelings of Unhappiness. Another feature that Augments his Unhappiness are the pauses when he says “I wish that I was part of … something” (13xviii-xix) and “I wish that anything I said mattered … to anyone” (13xxi). He is still searching for his words to voice his Unhappiness. Finally, he also Augments his letter closing with the words “Sincerely, your best and most dearest friend” (13xxvi), saying the same thing twice.

4.2.2.3 The dialogue preceding Waving Through a Window (reprise #2)

The dialogue before the second reprise of WTAW is again a conversation between Evan and Jared. The following table describes the conversation in number of turns and number of words per character:

CONVERSATION IN NUMBERS Number of turns Number of words Number of words (%) Evan 5 69 45% Jared 6 83 55% Full Conversation 11 152 100% Table 28 Dialogue preceding WTAW #2: conversation in numbers

The numbers for this conversation are more or less equal: Evan has 5 turns and utters 45% of the words, while Jared has 6 turns and utters 55% of the words.

4.2.2.3.1 Attitude

An overview of all categories of Attitude immediately shows a difference in use (table 29): whereas Evan uses 9 instances of Affect, Jared uses 1. The reversed situation is found in the category of Judgement, where Evan only uses 1 instance, while Jared uses 7. There are no instances of Appreciation for both participants.

ATTITUDE: OVERVIEW Affect Judgement Appreciation Total Evan 9 1 - 10 Jared 1 7 - 8 Total 10 8 - 18 Table 29 Dialogue preceding WTAW #2: utterances of Attitude

Most of Evan’s instances of Attitude show Insecurity, namely 7: Evan pauses in his sentences, gathering his thoughts before he continues and he asks questions about what Connor will do with Evan’s letter. When referring to his choice to talk to Jared, though, Evan voices Unhappiness. He acknowledges that he “didn’t know who else to talk to.” (4i) and that Jared is “his only family friend” (4ii). Jared also refers to Evan’s Unhappiness when he claims: “that does not bode well for you.” (7i).

ATTITUDE: AFFECT ATTITUDE: JUDGEMENT (un)Happiness (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T T Ev Ins Des T Evan - 2 - - 2 ------7 - - 7 ------9 - - - 9 Jared - 1 - - 1 ------1 - - - 1 Total - 3 - - 3 ------7 - - 7 ------10 - - - 10 Table 30 Dialogue preceding WTAW #2: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

As stated, the category of Judgement shows the reversed situation: now Evan only uses 1 instance, whereas Jared uses 6. Evan once Judges Connor for stealing the letter from him (6iii), while Jared continuously Judges both Evan and Connor. First, he Judges Evan’s Normality for writing letters to himself (1i-ii) and then Judges his Capacity when coming to Jared for advice (3i). Finally, Jared’s answers to Evan’s questions are filled with Judgement towards Connor. Jared implies that Connor is unpredictable (9i), insults him for being “batshit out of his mind” (9ii) and reminds Evan of Connor’s rage in second grade (9iii-v).

ATTITUDE: JUDGEMENT ATTITUDE: JUDGEMENT Judgement of Esteem Judgement of Sanction Capacity Capacity Sarc. Normality Normality neg. Normality Sarc. Tenacity Veracity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------Jared - 1 - - 1 ------5 - 1 6 ------Total - 1 - - 1 ------5 - 1 6 ------Table 31 Dialogue preceding WTAW #2: subcategory of Attitude: Judgement, subsubcategory Judgement of Esteem (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

ATTITUDE: JUDGEMENT ATTITUDE: APPRECIATION Judgement of Sanction Total Veracity Veracity Sarc. Propriety Propriety neg. Propriety Sarc. Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------1 1 ------1 1 Jared ------6 - 1 7 Total ------1 1 ------6 - 2 8 Table 32 Dialogue preceding WTAW #2: subcategory of Attitude: Judgement, subsubcategory Judgement of Sanction (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

There are no instances of Appreciation.

4.2.2.3.2 Engagement

A general overview of the second category Engagement (table 33) shows a favour for Contracting the dialogic space. Only Jared uses one instance of Opening up the dialogic space (table 34): when Evan asks if Connor would show the letter to others, he says “For sure. I mean, I would” (11ii-iv). He offers his own opinion, but he also Contracts the dialogic space, implying that it is obvious as everyone would do it.

ENGAGEMENT: OVERVIEW Open Contract Total Evan - 5 5 Jared 1 3 4 Total 1 8 9 Table 33 Dialogue preceding WTAW #2: utterances of Engagement

ENGAGEMENT: OPEN ENGAGEMENT: CONTRACT Attributive Entertain Sarc. Entertain Total Evan - - - - Jared - 1 - 1 Total - 1 - 1 Table 34 Dialogue preceding WTAW #2: overview subcategory of Engagement: opening up the dialogic space

Next to the instance both Opening and Contracting the dialogic space, Jared uses other instances Contracting, mainly raising Evan’s anxiety about what is going to happen: he Denies this to end well (7i) and simply Concurs when Evan panics about Connor showing the letter to others (11i).

ENGAGEMENT: CONTRACT GRADUATION: OVERVIEW Disclaim Proclaim Total Counter Deny Total Concur Concur Sarc. Endorse Pronounce Total Evan 1 4 5 - - - - - 5 Jared - 1 1 1 - - 1 2 3 Total 1 5 6 1 - - 1 2 8 Table 35 Dialogue preceding WTAW #2: overview subcategory of Engagement: contracting the dialogic space

Evan’s instances Contracting the dialogic space are often used to defend himself from Jared’s Judgement: he Denies the letter to be “a sex thing” (2ii) and Counters Jared’s statement, saying that “it was an assignment” (2iv). When Jared Judges him for coming to talk to him, Evan Denies having anyone else to talk to about this situation (4i). Finally, he says that Connor “hasn’t been at school” (6iv- v), trying to explain to Jared why he is worried.

4.2.2.3.3 Graduation

The final category of Graduation again shows a clear difference between Evan and Jared, who respectively use 1 and 8 instances. Evan says “And then he just, he hasn’t been at school since” (6iv- v), Focussing attention on the fact that he is still gathering his thoughts. Jared mostly Augments his utterances, as can be seen in table 36. He only Mitigates once when he says “some kind of sex thing” (1iii), rather than claiming that it is one.

GRADUATION: OVERVIEW HARD TO CLASSIFY Enrichment Augmenting Mitigation Focus Total Evan - - - 1 1 Jared - 7 1 - 8 Total - 7 1 1 9 Table 36 Dialogue preceding WTAW #2: overview of all utterances of Graduation

Finally, there are 7 instances of Augmenting. This is often linked to the extensive use of slang: when he curses, saying “what the crap” (1ii), he immediately continues with another expression “what does that even mean?” (1ii), Augmenting his Judgement towards Evan. Also his Judgement towards Connor is Augmented by two expressions that are used as slang when he says that Connor is “batshit out of his mind” (9ii). Apart from Augmenting to Judge either Evan or Connor, he also Augments his utterances to heighten Evan’s anxiety: when Evan is looking for reassurance, he Augments his statements, saying that Connor “is going to ruin [Evan’s] life with it” (11i), Connor will certainly make other people read it and adds that, being in Connor shoes, he would definitely make that happen.

4.2.3 Discussion

With those results in mind, it is possible to discuss the ones standing out amongst the others. Those results might be able to tell more about the function of the song and its reprise. However, as has been stated before in section 2, the song’s meaning in a musical involves the entire narrative, and the function of the song is thus not only determined by the dialogue preceding the song. The results of this analysis are therefore not to be seen as an exhaustive list of reasons for the song to fit into the musical, although they will give an idea of how the song functions in its direct context.

4.2.3.1 Relation between the first dialogue and the song

The song Waving Through a Window focusses on Evan’s Insecurity and Unhappiness by showing Evan’s distance from others as well as how he longs to break that distance. The most striking result in the dialogue preceding the song is the number of instances indicating Evan’s Insecurity. None of the other characters, in any of the conversations happening before Waving Through a Window, shows any signs of Insecurity with the exception of Jared when he hurriedly tells Connor that “[he] was kidding. It was a joke.” (32i-ii). For Evan, however, his Insecurity is a constant in each conversation. The dialogue focusses on clear cases when his Insecurity will heighten and this is also shown in the results of the Appraisal analysis. He listens to Alana’s satisfaction over her accomplishments, and Concurs to reassure her. However, when he shares his own satisfaction with Jared, he does not get the reassurance he is looking for. Instead, his story is met with Judgement. Throughout the data set, Evan is constantly Judged as most instances of Judgement are addressed at Evan.

As was stated in section 4.2.2 that feeling of Insecurity was also shown in the song, for instance in the first verse of the song through the metaphor of driving the car:

[1st verse] I’ve learned to slam on the brake Before I even turn the key Before I make the mistake Before I lead with the worst of me

This is an extension of the experiences in the dialogue and sets the tone for the musical’s protagonist, as well as for the musical itself. Whereas the dialogue shows Evan dealing with his Insecurities (engaging with Alana’s accomplishments, sharing his experiences over the summer), it also showed him making himself sparse (Mitigating his accomplishments, simply Concurring or Denying without fighting back). The song elaborates on all those feelings, introducing a young man struggling to find his place in the world. He is looking for help, but does not know where to start, which eventually leads to him questioning the meaning of trying. Is he deserving of a better life? Will things ever change? It is an emotional outburst of feeling invisible and unimportant. Whereas the dialogue focusses on clear cases where his Insecurity heightens, the song explains how that behaviour bothers him and how he would like things to be different.

4.2.3.2 Relation between the dialogues 4.2.3.2.1 The dialogue preceding Waving Through a Window (reprise #1)

A clear difference between the dialogue preceding the first reprise and the dialogue before WTAW is Evan’s Insecurity: in his conversation with his mother it is Heidi who shows her Insecurity over having to disappoint her son and shows guilt for letting him down. Evan, on the other hand, shows Unhappiness, but not Insecurity. Only when he is alone and he is writing himself a letter his Insecurity returns, thinking about talking to Zoe. There is also a clear difference in the use of Judgement: in the dialogue before WTAW most negative Judgement were uttered by others aimed at Evan, while this data set is filled with Judgement from the appraiser towards her- or himself, either Heidi or Evan. During the phone call Heidi is Judging herself for disappointing Evan and when writing his letter Evan Judges his own naivety. It is also important to notice the use of desire: while Heidi voices a desire for things to change, Evan barely engages. In his letter, however, he voices his own desires for things to change.

A similarity between the dialogues are the instances of Concurring: similarly to the first data set Evan easily Concurs with what his mother says, even lying not to disappoint her. However, his letter is the exact opposite: there he is Denying and Countering everything, even when he for a moment Entertains the idea of talking to Zoe with the adverb “maybe”.

The part of Waving Through a Window that is reprised here is a part of the bridge, namely:

When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a sound? When you’re falling in a forest and there’s nobody around Do you ever really crash, or even make a -

This part is again sung by Evan. Added to the Unhappiness and repetitious Denying of hope in the data set preceding this reprise, it can be stated that the repetition of this part of the song gives it an even more sombre meaning. Because of the Judgement towards himself in the dialogue, this part also shows a more Judging meaning than it did in the full context of the song: whereas the full song showed his desperation to break the distance, he is now Judging that desperation as naivety. He is no longer asking who he is and how he fits into this world: he is now wondering if there is anyone who can even hear him. Is he of any importance to anyone?

4.2.3.2.2 The dialogue preceding Waving Through a Window (reprise #2)

The dialogue preceding the final reprise of WTAW is again filled with Insecurity on Evan’s part. This is not only explicitly expressed in his speech, but it is also Evoked through the kind of questions he is asking Jared. The data set also shows many instances of Judgement as Jared is Judging both Evan and Connor.

The reprise is a part of the chorus:

On the outside always lookin’ in Will I ever be more than I’ve always been? ‘Cause I’m tap-tap-tappin’ on the glass Waving through a window

This reprise is not sung by Evan, but by Alana. Alana is not a participant in the conversation, not even a silent one. Therefore it is difficult to link the dialogue preceding the reprise with the reprise itself. However, the reprise shows a part of the song where Evan was first passively watching the world pass by, but then feels as if he is actively reaching out to break the distance. The fact that it is Alana who sings the reprise is interesting in itself: it is foreshadowing the fact that not only Evan struggles with these feelings. By having Alana sing this reprise more people are involved in the conversation. It is foreshadowing the importance of the Connor Project that will show people that everyone should matter and that no one is alone.

4.3 Case study 2: For Forever

The second case study is For Forever. The situation is different from the first one as the main song is situated in the first act of the musical, while its reprise is sung in the second act. The following table gives an overview of each data set:

Data set section 4.3.1.1 The dialogue preceding FF Act 1, scene 6 Data set section 4.3.1.2 The song FF Act 1, scene 6 Data set section 4.3.1.3 The dialogue preceding FF reprise #1 Act 2, scene 8 (part 1)

Data sets of case study 2: For Forever

4.3.1 Close reading 4.3.1.1 The dialogue preceding For Forever

The dialogue preceding For Forever finds Evan visiting Connor’s family. Because of Evan’s self- addressed letter that was found in Connor’s pocket when he committed suicide, Evan is believed to have been Connor Murphy’s best friend. The Murphy’s invite Evan for dinner to get to know him. Jared, his family friend, told Evan beforehand that “All you have to do is just nod and confirm. Whatever they say about Connor, you just nod your head and you say, yeah, that’s true. Don’t contradict and don’t make shit up. It’s foolproof. Literally, nothing I tell my parents is true and they have no idea.” (Jared: act 1, scene 5). With this advice in mind, Evan joins Connor’s father Larry, Connor’s mother Cynthia and Connor’s sister Zoe for dinner. Larry wants to serve seconds:

NV1 [Dinner at the Murphy’s. Prominently, in the center of the table, a bowl of fresh apples. Evan is afraid to move or make a sound. Larry serves himself seconds.]

1. Larry (i) Would anyone else like some more chicken? 2. Cynthia (i) I think [Proclaim: pronounce] (ii) you’re the only one [Augmenting] with an appetite, Larry [Sarc. Judgement: +norm]. 3. Larry [Defensive] (i) The Harrises brought it over [Judgement: -prop].

Extract 25 Dialogue preceding FF (turns 1-3)

The reaction of Connor’s mother Cynthia is Sarcastic, stating that she thinks Larry is “the only one with an appetite” (2ii). She could genuinely be answering his question, although her use of “I think” (2i), “the only one” (2ii) and the explicit mention of his name would rule out that option. However, it is unclear what she does want to say. Does she blame him for eating? Does she blame him for talking about superficial things? Does she Judge him for asking an inappropriate question? I would argue that she wants to say something about the Normality of him having an appetite when his son has committed suicide. This analysis labels this instance of sarcasm as a case of evaluative indirect opposites: she does not mean to state the exact opposite of what is explicitly said (which would be that Larry does not have an appetite), instead she comments on the Normality of him having an appetite in this moment:

First level: “I think [Proclaim: pronounce] you’re the only one [Augmenting] with an appetite [Judgement: +norm], Larry.”

Second level: sarcasm (evaluative indirect opposites)

Larry has an appetite. Larry should not have an appetite. [Sarc. Judgement: +norm] [Judgement: -norm]

Intermediate step: Cynthia is talking about the normality of having an appetite. Normative scale: “normality” (positive to negative)

Sarcastic utterance 6 Cynthia (13vii) - evaluative indirect opposites

Larry’s question led Cynthia to believe that he is still hungry and she blames him for it. However, Larry defends himself, saying “The Harrises brought it over” (3i). He understood the bite Cynthia had added to her comment and Judges her Propriety: he is serving seconds because they cannot have the food go to waste that was prepared by people looking out for them. Instead of commenting, Cynthia turns to Evan, asking him about the Harrises:

4. Cynthia [To Evan] (i) Did Connor tell you about the Harrises [Affect: +hap]?

NV2 [Evan nods.]

5. Cynthia (i) We used to go skiing together [Affect: +hap], our families [Augmenting]. 6. Evan [nods] (i) Connor loved [Affect: +hap] skiing [Proclaim: concur]. 78

7. Zoe (i) Connor hated [Affect: -hap] skiing [Judgement: -ver] [Disclaim: deny]. 8. Evan (i) Well, right [Proclaim: concur]. (ii) That’s what I meant [Proclaim: concur]. (iii) Connor loved [Affect: +hap] … [Affect: -sec] (iv) talking about how much he hated [Affect: -hap] skiing.

NV3 [Zoe just stares at him.]

Extract 26 Dialogue preceding FF (turns 4-8)

It is clear that having her son’s friend over for dinner is making Cynthia happy: she starts asking questions wanting to welcome him in the conversation. Evan nods, as Jared had told him to do, acting as if Connor did tell him about the Harrises. Cynthia elaborates about the happy times when the families would go skiing together, Augmenting that feeling when she specifically states “our families” (5i), describing them as a whole. Evan again Concurs, stating that Connor shared that feeling when he says “Connor loved skiing” (6i). However, Connor’s sister Zoe Denies this and says that Connor did not like skiing, but hated it: she is Judging Evan’s Veracity. Evan quickly Concurs, indicating that “that’s what [he] meant” (8iii). This already shows Evan to be a bad liar, and his Insecurity surfaces. He is pausing in his sentence, trying to decide what to say. The non-verbal communication shows that Zoe is still sceptical, but Cynthia redirects the topic, wanting to know if the two friends “hung out a lot” (9iii):

9. Cynthia (i) So you guys, (ii) you … [Affect: -sec] (iii) you hung out a lot [Affect: +hap]? 10. Evan (i) Pretty much [Proclaim: concur]. 11. Zoe (i) Where [Judgement: -ver]? 12. Evan (i) Oh [Affect: -sec] (ii) you mean [Affect: -sec], (iii) like, (iv) where did we … [Affect: -sec]? (v) Well, (vi) we mostly hung out at my house. (vii) I mean [Affect: -sec], (viii) sometimes [Affect: -sec] we’d come to his house [Affect: - sec] (ix) if nobody else was here. (x) We would email a lot, though, mostly [Affect: -sec]. (xi) So we wouldn’t [Disclaim: deny] have to [Affect: -sec], (xii) he didn’t [Disclaim: deny] want to always hang out. (xiii) In person, (xiv) you know [Affect: -sec] [Entertain]?

Extract 27 Dialogue preceding FF (turns 9-12)

Cynthia’s Happiness over the fact that her son did have a best friend can be found in the verb she uses: as the scriptwriter Steven Levenson mentions in an annotation to the script, Cynthia is not characterised as one to use the expression “to hang out”. However, by using what she would imagine to be teenage language, she wants to connect with her son’s friend (Levenson 2017: 83). She is happy for her son to have found a friend, but now meeting him also makes her Insecure, which can be seen by the pauses. Evan Concurs, saying “pretty much” (10i), but Zoe is still sceptical. She does not believe him and asks him where they would meet (11i). Evan’s answer is filled with Insecurity as he has to come up with another lie. First he asks for clarification, trying to buy himself some time and then he answers with “we mostly hung out at my house” (12vi). He continues, rambling about where and how they would meet, coming up with more and more excuses to anticipate all questions they could have. He uses “I mean” which, as defined in the Urban Dictionary, “covers the speaker’s thought process and indicates that conflicting ideas are being weighed in the speaker’s mind. It indicates that an answer has not yet been formulated, but does not invite the other speaker to continue talking” (Urban Dictionary, “I mean”). He continues by claiming that he and Connor would send each other emails, so they would not have to meet in person all the time. Eventually he Entertains, Opening up the dialogic space when he says “you know?”. He is checking to see if they are following along with the story. Zoe comments on them writing each other emails, Judging Evan’s honesty when she claims that they have not found any emails addressed to Evan:

Extract 28 Dialogue preceding FF (turns 13-14)

Evan is quick to Deny them being able to find any of the emails. His Insecurity is shown in the fact that he is again buying himself time: he starts with “well” (14), then Denies the statement with a clear “no” (14ii) and Augments the negation when he adds “of course”. Next, he uses the interjection “yeah” and again “I mean” before eventually explaining the why of the question: “he had a different account” (14vi), a “secret account” (14vii). He then Judges his own Capacity for not being able to explain it clearly, leaving Open the dialogic space to say that it was confusing. Zoe responds with Judgement towards the Normality of the situation, asking why the account was secret:

15. Zoe (i) Why was it secret [Judgement: -norm]? 16. Evan (i) Just so no one else could [Affect: -sec], (ii) it was more private, (iii) I guess [Affect: -sec], that way. 17. Cynthia [To Larry] (i) He knew (ii) you read his emails [Judgement: -prop]. 18. Larry (i) Somebody [Augmenting] had to be the bad [Judgement: -prop] guy.

NV4 [A tense pause.]

Extract 29 Dialogue preceding FF (turns 15-18)

Evan does not finish his sentence at first, showing his Insecurity. When he comes up with the explanation that “it was more private” (16ii), he immediately adds “I guess” (16iii), which again shows his Insecurity. Cynthia turns to her husband, making clear that she did not agree with him reading their son’s emails. Larry is again defending himself, stating that “somebody had to be the bad guy” (18i). Zoe changes the topic:

Extract 30 Dialogue preceding FF (turns 19-22)

Zoe is still sceptical about Evan’s story, which is clear when she says “The weird thing is” (19i). She tries to find out if he is lying by confronting him with the fact that she has never seen the two boys together, apart from when Connor shoved him at school. She uses “only time” (19ii) and “ever” (19ii) to Augment her Judgement towards Evan. Cynthia does not question Evan’s sincerity, but does Judge Connor for shoving Evan. Evan tries to explain, Mitigating Connor’s role. After a short hesitation, showing his Insecurity, he claims that he “tripped” (21ii). However, Zoe does not believe him, Judging his Veracity many times: she was not only there, she saw it as well, and she knows exactly what happened. She Judges Connor for pushing Evan, Augmenting that when she says the push was “hard” (22iii). Evan acts as if he only now realises what she is referring to: 81

23. Evan (i) Oh. (ii) I remember now [Judgement: -cap] [Proclaim: concur]. (iii) That was a misunderstanding [Mitigation]. (iv) Because, the thing was, (v) he didn’t [Disclaim: deny] want us to talk at school, (vi) and I tried to talk to him at school [Judgement: -cap]. (vii) It wasn’t [Disclaim: deny] that big a thing [Mitigation]. (viii) It was my fault [Judgement: -cap] [Mitigation].

Extract 31 Dialogue preceding FF (turn 23)

By saying “I remember now” (23ii) Evan is Judging his own Capacity of not being able to remember earlier. However, unbeknownst to the others, this utterance can also be Evan Judging himself for not being able to convince them of the lie. So, unable to Deny it any longer, he Mitigates the event: he calls it “a misunderstanding” (23iii). Again he is providing an explanation, taking all the blame and Mitigating Connor’s role. Evan is Judging himself for talking to Connor at school and calls Connor shoving him “not that big a thing” (23vii), taking full blame when he says “it was my fault” (23viii). Zoe finds the explanation hard to believe:

24. Zoe (i) Why didn’t [Disclaim: deny] he want you to talk to him at school [Judgement: -ver]? 25. Evan (i) He didn’t [Disclaim: deny] really [Mitigation] want people to know we were friends [Affect: +hap]. (ii) I guess [Entertain] [Affect: -sec] he was embarrassed [Judgement: -ten]. (iii) A little [Mitigation].

Extract 32 Dialogue preceding FF (turns 24-25)

She specifically asks why Connor would not want Evan to talk to him at school and again Evan has to come up with an explanation, stating that “he didn’t really want people to know we were friends” (25i). The use of the adverb “really” (25i) Mitigates the effect of the negator, not wanting to Judge Connor harshly. The follow-up of his explanation is more Insecure: Evan starts with “I guess”, Entertaining the idea that he never discussed the reason with Connor and that he therefore cannot speak for him. He states that Connor would have been embarrassed if people knew, but because that sheds a negative light on Connor, he immediately Mitigates that statement as well, adding “a little” (25iii). This statement bothers Cynthia as she cannot understand why her son would not want them to know about his friend and she asks Evan about it:

26. Cynthia (i) Why would he be embarrassed [Judgement: -ten] [Affect: -sec]? 27. Evan (i) Um [Affect: -sec]. (ii) I guess [Entertain] [Affect: -sec] (iii) because he thought [Attributive: acknowledge] I was sort of [Mitigation] [Affect: -sec], (iv) you know [Entertain] [Affect: -sec] … 28. Zoe (i) A nerd [Judgement: -norm]? 29. Larry (i) Zoe [Judgement: -prop]. Extract 33 Dialogue preceding FF (turns 26-29)

Evan’s answer is hesitant. He does not dare to speak for Connor, again using “I guess” to show that he is only Entertaining one option when he says that Connor “thought [he] was sort of, you know” (27iii). Using “sort of” (27iii) already Mitigates the noun that would have followed. However, Evan does not continue, which shows his Insecurity. He finally settles by saying “you know” (27iv), inviting the others to fill in the gap. Zoe explicitly does so, replying with “a nerd” (28i). She is Judging Evan’s Normality and Larry reprimands her by saying her name. She Sarcastically addresses Evan, acting Insecure, as if she genuinely thought the answer was obvious, but only now realises that might not have been the case:

30. Zoe (i) Isn’t [Disclaim: deny] that what you meant [Affect: -sec] [Sarc. Judgement: +prop] [Augmenting]? 31. Evan (i) Loser [Judgement: -norm], I was going to say, actually [Disclaim: counter]. (ii) But [Disclaim: counter]. (iii) Nerd [Judgement: -norm] works, too [Proclaim: concur] [Augmenting]. 32. Cynthia (i) That wasn’t [Disclaim: deny] very [Augmenting] nice [Judgement: neg. +prop] [Mitigation]. 33. Zoe (i) Well, Connor wasn’t [Disclaim: deny] very [Augmenting] nice [Judgement: neg. +prop] [Augmenting], (ii) so that makes sense [Judgement: -prop].

NV5 [Cynthia takes a breath, struggles to maintain her pose.]

Extract 34 Dialogue preceding FF (turns 30-33)

Zoe’s comment is an example of evaluative indirect opposites: what could have been Insecurity over a misunderstanding on a first level, is actually Judgement of Propriety on a second level. Especially the fact that she refuses to let the topic rest shows her Sarcasm: instead of changing the topic, she fakes to be genuinely confused to be incorrect. In other words, the Sarcastic comment is another insult towards Evan: she first calls him “a nerd” (28i) and then Augments that by claiming that it was obvious.

First level: “Isn’t [Disclaim: deny] that what you meant [Affect: -sec]?”

Second level: sarcasm (evaluative indirect opposites)

Isn’t that what you meant? Insulting Evan again [Sarc. Judgement: +prop] [Judgement: -prop]

Intermediate step: She acts as if it is a misunderstanding then. Normative scale: “sincerity” (positive to negative)

Sarcastic utterance 7 Zoe (30i) - evaluative indirect opposites

Evan Counters Zoe’s statement by calling himself a “loser” (31). This Judgement towards himself shows his low self-esteem, which is only Augmented when he agrees that “nerd” (31iii), as Zoe said, would be fitting as well. Instead of explicitly telling Zoe she should not say such things, Cynthia says “That wasn’t very nice” (32i). By Denying a positive Judgement of Propriety, she is Mitigating her daughter’s bad behaviour. Zoe justifies her behaviour by copying Cynthia’s exact words, but applying them to Connor. This hurts Cynthia and she defends her son, Mitigating the severity of his actions:

34. Cynthia (i) Connor was … [Affect: -sec] (ii) he was a complicated [Judgement: -cap] [Mitigation] person. 35. Zoe (i) No [Disclaim: deny], Connor was a bad [Judgement: -prop] person [Disclaim: counter]. (ii) There’s a difference [Judgement: -cap]. 36. Larry (i) Zoe, please [Judgement: -prop]. 37. Zoe [To Larry] (i) Don’t pretend [Judgement: -ver] like you don’t [Disclaim: deny] agree with me.

NV6 [Cynthia’s distress grows more and more difficult for Evan to watch.]

Extract 35 Dialogue preceding FF (turns 34-37)

Starting hesitantly, she eventually calls him a “complicated person” (34ii), which is still negative Judgement towards Connor, but more accounted for, Mitigated from calling him “not very nice”. Zoe immediately Denies with a clear “no” (35i), explicitly stating that “Connor was a bad person” (35i). She then continues, Judging her mother for not wanting to see this when she says “There’s a difference” (35ii). Again Larry reprimands her, but Zoe continues, now Judging Larry for not daring to speak up about his son. Hearing her daughter talk about her son, Cynthia is now explicitly Judging Zoe as well. Whereas she previously said “not very nice” (32i), she is now telling her daughter that “you refuse to remember any of the good things” (38i):

38. Cynthia (i) You refuse to remember any [Augmenting] of the good [Appreciation: +val] things [Judgement: -ten]. == (ii) You refuse to see anything [Augmenting] positive [Appreciation: +val] [Judgement: -ten] [Augmenting]. 39. Zoe / (i) Because there were no [Disclaim: deny] good [Appreciation: neg. +val] things [Judgement: -cap]. (ii) What were the good [Appreciation: +val] things [Judgement: -cap] [Augmenting]? 40. Cynthia (i) I don’t [Disclaim: deny] want to have this conversation [Mitigation] in front of our guest [Affect: -hap].

Extract 36 Dialogue preceding FF (turns 38-40)

Cynthia is Augmenting her Judgement, blaming Zoe’s tenacity for not seeing “anything positive” (38ii). For both utterances of Judgement she uses the same structure, namely “you refuse to” (38i + ii), which Augments the utterance. Zoe interrupts her mother, stating that “there were no good things” (39i). In other words, her Negated positive value of Connor’s memories explicitly state her disagreement with her mother. She is Judging her mother’s incapacity to see the truth, for giving more value to the memories than she does. That statement is Augmented when she explicitly asks what the good things were (39ii). Cynthia deflects the question, stating that she does not “want to have this conversation in front of our guest” (40i). Not only does she refuse to elaborate, she also calls this “a conversation”, which is Mitigating: conversation is used as a synonym for a discussion or even a fight. Zoe refuses to let the conversation rest and she repeats her question, Augmenting it by addressing her mother directly and adding “Tell me” (41ii):

41. Zoe (i) What were the good [Appreciation: +val] things, Mom [Judgement: -cap] [Augmenting]? == (ii) Tell me [Augmenting]. 42. Cynthia == (i) There were good [Appreciation: +val] things [Affect: -hap].

NV7 [Before even thinking, Evan finds the words tumbling out.]

43. Evan (i) I remember a lot of [Augmenting] good [Appreciation: +val] things about Connor [Judgement: +cap].

NV8 [All eyes turn to him at once, as he realizes what he’s done.]

44. Zoe (i) Like what [Judgement: -ver]?

Extract 37 Dialogue preceding FF (turns 41-44)

Cynthia’s response does not add any detail, she simple claims that “there were good things” (42i). The fact that she does not elaborate on that statement shows her Unhappiness with the situation: she is Unhappy that she has to defend her son to her daughter. Wanting to ease her pain, Evan starts talking. Although he does not add any detail either, Evan claims to “remember a lot of good things about Connor” (43i). His memories Evoke the feeling that he values the memories he made with Connor, especially as he remembers “a lot of good things” (43i). Zoe finds that hard to believe and wants to know more about those memories. Whereas Evan had simply been nodding and parroting what others were saying, he now suddenly becomes the centre of attention and they expect him to elaborate. Evan panics and his Insecurity is shown when he apologizes profoundly:

45. Evan (i) Never mind [Affect: -sec]. (ii) I shouldn’t have [Judgement: -cap], (iii) I’m sorry [Affect: -sec] [Augmenting], (iv) never mind [Affect: -sec] [Augmenting]. 46. Cynthia (i) No [Disclaim: deny], Evan [Augmenting]. (ii) You were saying something [Judgement: +cap]. 47. Evan (i) It doesn’t [Disclaim: deny] matter [Mitigation]. (ii) Really [Augmenting] [Affect: -sec]. 48. Cynthia (i) We want to hear (ii) what you have to say [Judgement: +cap]. (iii) Please [Augmenting].

NV9 [Beat.]

Extract 38 Dialogue preceding FF (turns 45-48) 86

Saying “never mind” (45i) already indicates that he deems his opinion not to be important. Also keeping in mind that him having to elaborate means he will have to lie to them, it is his attempt not to have to answer. He then Judges himself for interrupting, saying “I shouldn’t have” (45ii), immediately apologizing as well. The feeling of Insecurity is Augmented even more when he repeats “never mind” (45iv). Cynthia stops his rambling, stating “No, Evan” (46i). By using his first name, she is Augmenting the utterance. She Denies the fact that what he was saying would be unimportant and she encourages him to continue, saying “you were saying something” (46ii). This encouragement is positive Judgement of Capacity towards Evan as she tells him he is worth listening to. Evan again Mitigates the importance of his input, explicitly stating that “it doesn’t matter” (47i), Augmenting that statement when he adds “really” (47ii). Cynthia has become hopeful hearing Evan talking positively about her son and she wants him to continue. She again encourages him to continue, Augmenting that request when saying “please”(48iii). Evan sees no other way than to make up a story about their friendship and starts rambling:

49. Evan (i) Well, (ii) I was just [Mitigation] … [Affect: -sec] (iii) Connor and I … [Affect: - sec] (iv) we had a really [Augmenting] great [Appreciation: +val] time together [Affect: +hap], (v) this one day [Affect: +hap], recently.

NV10 [Evan keeps talking, unsure if he’s connecting or not.]

(vi) That’s something good [Appreciation: +val] (vii) that I remember about Connor. (viii) That’s what I keep thinking about [Affect: +hap] [Augmenting]. (ix) That day [Augmenting].

NV11 [His eyes land on the bowl of apples in front of him.]

(x) At the apples, um … [Affect: -sec] (xi) the apples … [Affect: -sec] place.

NV12 [Beat.]

(xii) Anyway [Affect: -sec]. (xiii) It’s [Affect: -sec], (xiv) I knew [Proclaim: concur] (xv) it was stupid [Appreciation: -val] [Judgement: -cap]. (xvi) I don’t know (xvii) why I even [Disclaim: counter] brought it == up [Judgement: -cap].

Extract 39 Dialogue preceding FF (turn 49)

Evan is already Mitigating the importance of the story when he says “I was just …” (49i). He is unable to form coherent sentences, which is shown by the several pauses while his sentences trail off. Eventually he simply adds a general statement, saying that “we had a really great time together, this one day, recently” (49iv-v). Although the utterance does not show much detail, it is clear that he is recalling a happy time: they had a “really great time”, which is an Augmented statement and a positive Valuation of that specific memory. They were friends “together” and he refers to “this one day, recently” as if the day is replaying in his head. He keeps talking about that specific moment without adding much detail. He circles back to the start of his explanation, repeating that “that’s something good that I remember about Connor” (49vi-vii). He Augments that saying that “that’s what I keep thinking about” (49viii) and “that day” (49ix). Also realizing that he is talking in circles, he starts adding more detail based on the tray of apples he sees on the dinner table. His Insecurity over the new direction of conversation is shown in his pauses and the choice of words: twice he pauses and eventually settles on the fact that Connor and him visited the “apples place” (49x). For a short moment it is quiet and then Evan starts apologizing again, showing his Insecurity: he says “anyway” (49xii) and he does not finish his sentences. He also voices Judgement towards his own Capacity: he is unable to decide what would be interesting to other people. He anticipates the idea that everyone will Value the story as “stupid” (49xix-xv) and already aligns himself with that opinion, but also Judges himself by Countering the fact that he brought it up, but should not have done so. However, Cynthia makes sense of what the “apples place” (49x) could be and asks if Connor took him to the orchard:

50. Cynthia == (i) He took you to the orchard [Affect: +hap]?

NV13 [Evan looks at Cynthia, sees the hope in her eyes. Even Zoe has turned silent.]

[Affect: -sec], (v) it’s totally [Augmenting] closed down now [Affect: -hap].

Extract 40 Dialogue preceding FF (turns 50 -55)

Imagining the two boys going to the orchard makes Cynthia happy and Evan Concurs twice, Augmenting it when he repeats “He did” (51ii). Cynthia’s Happiness from her previous turn is also shown when she asks “when?” (52i): she urges Evan to continue by asking for more information. Evan quickly Mitigates the impact of his story, stating that it happened “just that once” (53ii). He repeats that twice, which Augments that statement. However, although it only happened once, he Counters that Connor did say that “the apples there were the best (53iv). Larry Opens the dialogic space, voicing a thought and asking for the opinion of the others. According to him, the place had closed and he even Augments that statement by adding a time frame, saying that it happened “years ago” (54ii). In reply Evan alters his story: he Concurs with Larry, explaining that they were “so bummed when [they] got there” (55ii). He Augments their disappointment, saying it was “completely” (55iv) and “totally” (55v) closed, although his Insecurity is still shown through the fact that he restates his sentence before finishing. Cynthia then explains the importance of the orchard to Evan:

56. Cynthia (i) We used to go to the orchard all the time [Affect: +hap]. (ii) We’d do picnics out there [Affect: +hap]. (iii) Remember that, Zoe [Affect: +hap] [Entertain]? 57. Zoe (i) Yeah [Proclaim: concur]. (ii) I do [Proclaim: concur] [Augmenting]. 58. Cynthia [To Larry] (i) You and Connor had that little toy plane you would fly [Affect: +hap]. (ii) Until you flew it into the creek [Affect: +hap]. 59. Larry [Can’t help but smile] (i) That was an emergency landing [Affect: +hap].

Extract 41 Dialogue preceding FF (turns 56-59)

Prosody through the following turns labels all memories with Happiness: the Murphy’s have positive memories of the orchard as they used to go there often. Cynthia recalls having picnics there and she addresses her daughter to ask her if she remembers that as well. Zoe Concurs, Augmenting it when she adds “I do” (57ii). Cynthia then addresses her husband to remind him of “that little toy plane” (58i). Larry jokes about the memory, showing his Happiness. Turning her attention back to Evan, it is clear that it makes her happy that her son would share this important place with his friend:

60. Cynthia [To Evan] (i) I can’t believe (ii) he took you there [Affect: +hap]. (iii) I bet [Entertain] (iv) that was fun [Appreciation: +val]. (v) I bet [Entertain] you two [Affect: +hap], (vi) I bet [Entertain] you had fun [Appreciation: +val] [Affect: +hap] [Augmenting]. 61. Evan (i) We did [Proclaim: concur]. (ii) The whole day was just [Focus] … [Affect: +hap]

Extract 42 Dialogue preceding FF (turns 60-61)

Her excitement is Augmented through the repetition of the structure “I bet” (60iii) and through the fact that she is unable to finish her sentence at first. She values Evan and Connor’s day as having been fun (60iv+vi), that “you two” (60v) had fun. The friendship of both of them makes her extremely happy. Evan Concurs and before he starts singing a song about their day together, he does not finish his sentence, trailing off into a memory.

4.3.1.2 The song For Forever

The song For Forever can be described as showing Evan’s Happiness and his building confidence. It is filled with Happiness because Evan is picturing a perfect day with his best friend. The feeling can be noted his choice of words, but also by the fact that Evan’s confidence is building as the story gradually evolves from giving general information to telling a more personal story.

4.3.1.2.1 Word choice

Important word choices in the song are on the one hand the adjectives and on the other hand the nouns Augmenting the sentences. First of all, in the first verse where Evan starts his story, the adjectives are idealising the setting:

[VERSE 1] End of May or early June This picture-perfect afternoon we share Drive this winding country road Grab a scoop at “A La Mode” and then … we’re there An open field that’s framed with trees We pick a spot and shoot the breeze like buddies do

Evan is describing his perfect setting for his favourite day with Connor. It is “End of May or early June”, it is a “picture-perfect afternoon” and they are driving “this winding country road”, stopping along the way to get ice cream. There is much detail in his description, but nothing personal is shared. This idealising is also done in the chorus, where he talks about “two friends on a perfect day”. However, even more striking in that part of the song are the words Augmenting the idealisation:

[CHORUS] All we see is sky for forever We let the world pass by for forever Feels like we could go on for forever This way This way All we see is light for forever 'Cause the sun shines bright for forever Like we'll be all right for forever this way Two friends on a perfect day

Through the use of these words, the chorus is also depicting an ideal scene or — more specifically — an ideal friendship: “all” they can see is “sky for forever”, “light for forever”, the “sun shines bright for forever”. Their friendship is idealised as being realised in the perfect circumstances. Other examples of words Augmenting the Happiness are used in verse 2 where Evan sings that “There’s nothing that we can’t discuss” and “He looks around and says to me, / “There’s nowhere else I’d rather be””. Again, using such strong words highlight the strong foundation of their friendship.

4.3.1.2.2 Development of Evan and Connor’s friendship

Another theme in the song describing Evan’s Happiness is the development. As stated, the song starts with some general information, providing a detailed description, while nothing personal is shared. The pre-chorus lists more characteristics of their friendship, but the information is still general:

[PRE-CHORUS] Quoting songs by our fav’rite bands Telling jokes no one understands except us two And we talk and take in the view

Verse 2 will dig deeper into this, adding them making plans for the future and being able to discuss anything with each other. However, it is only in the bridge of the song where the story becomes much more personal. Whereas the characteristics above could be classified as common traits of describing a perfect friendship, the bridge tells a more personal story of Evan breaking his arm:

[BRIDGE] And there he goes Racin’ toward the tallest tree From far across the yellow field I hear him callin’, "Follow me" There we go Wonderin’ how the world might look from up so high One foot after the other One branch, then to another I climb higher and higher I climb 'til the entire sun shines on my face And I suddenly feel the branch give way I'm on the ground My arm goes numb I look around And I see him come to get me He's come to get me And ev’rything's okay

The story now becomes much more personal: Evan is telling the story of himself and Connor specifically. He is no longer talking about things that could be applied to any other friendship, he is sharing something that has happened to him, and how he imagines his dearest friend to come to rescue him. The story is told in much detail, clearly describing each step and how he was feeling throughout the experience: the initial excitement of climbing a tall tree, then the shift when he falls down, until it slowly builds up to where Connor comes to save Evan. This is also the first time Evan is describing himself and Connor specifically, referring to himself as “I” and to Connor as “he”. Throughout the rest of the song, both are referred to as “we” and “our”, “us”, “us two”, “buddies”, “buddy, you and I”, “two friends” and “true friends”, again indications for a more general idea of being “soulmates”.

4.3.1.3 The dialogue preceding For Forever (reprise)

Unlike the first case study where the reprises followed closely after its main song, For Forever is only reprised in the second act. The story has evolved since that particular scene at the Murphy’s: Evan became part of the Murphy family, Zoe and Evan got to know each other and started dating and he became co-president of The Connor Project, a student group dedicated to showing people that everyone should matter. For the first time Evan feels as if he belongs. However, at this moment everything is spiralling out of control: it becomes harder to keep up with the lie as people start questioning details, Jared feels left out because Evan made new friends and his mother senses that Evan is hiding something. Feeling caught in a web of lies, Evan is desperate and wants to tell the truth. He starts talking to an imaginary Connor, an image in his head to give him advice:

NV1 [Evan, alone.]

1. Evan (i) I’m not [Disclaim: deny] doing this [Affect: -hap]. (ii) I’m done [Affect: -hap] [Augmenting]. 2. Connor (i) You can’t [Disclaim: deny] just [Focus] stop now [Judgement: -prop].

NV2 [And Connor is there.]

3. Evan (i) I don’t [Disclaim: deny] think [Entertain] (ii) I can live with this anymore [Affect: -sec]. 4. Connor (i) What about my parents [Judgement: -prop]?

Extract 43 Dialogue preceding FF #1 (turns 1-4)

Evan is panicking and he says “I’m not doing this. I’m done” (1i-ii). He says the same thing twice, Augmenting his Unhappiness with the situation. When Connor disagrees, he says “I don’t think I can live with this anymore” (3i), which already sounds less convincing than when he said “I’m not doing this. I’m done” (1i-ii): he is now Opening up the dialogic space and is looking for reassurance. Connor tells him that he “can’t just stop now” (2i), where the adverb “just” Focusses the attention on the fact that it is not that simple. Through Prosody with Connor’s utterance in turn 4, it is clear that he is Judging Evan’s Propriety: by simply telling everyone about the lie, he will hurt the Murphy’s. Evan, however, is still listing everything he wants to get rid of:

5. Evan (i) No [Disclaim: deny] more emails [Affect: neg +hap]. 6. Connor (i) How can you do this to them [Judgement: -prop]? 7. Evan (i) No [Disclaim: deny] more Connor Project [Affect: neg. +hap]. (ii) No [Disclaim: Deny] more orchard [Affect: neg. +hap] [Augmenting]. 8. Connor (i) After everything they’ve done for you? [Judgement: -prop] (ii) They need you [Judgement: -prop]. 9. Evan (i) Need me for what [Judgement: -cap] [Disclaim: counter]? (ii) To keep lying [Judgement: -ver] to them?

Extract 44 Dialogue preceding FF #1 (turns 5-9)

Things that previously had a positive connotation he now no longer wants to be involved in: he no longer wants to make up “emails” (5i) to prove his friendship with Connor, he does not want to be the co-president of the “Connor Project” (7i) and does not want to raise funds to revive the “orchard” (7ii). In other words, Evan feels trapped and no longer wants to be reminded of the world he created around the lie. However, Evan’s revelation that his friendship with Connor is fake would not only have consequences in relation to the Connor Project, it would also crush the hope the Murphy’s had been holding on to. Connor Judges Evan for not taking them into consideration after everything they have done for him. He states that “they need you” (8ii). Evan Counters that, asking “need me for what?” (9i). He is Judging his own Capacity that they would need him for anything: he only sees himself as a liar, which is another Judgement of Veracity towards himself. Connor explains himself:

10. Connor (i) That lie [Judgement: +ver] is the only [Augmenting] thing that’s keeping them together. 11. Evan (i) That’s not [Disclaim: deny] true [Judgement: neg. +ver]. 12. Connor (i) Oh, really? [Sarc. Entertain] (ii) They seemed like a pretty [Mitigation] happy [Affect: +hap] family (iii) when you met them [Sarc. Entertain]?

Extract 45 Dialogue preceding FF #1 (turns 10-12)

Evan’s lie about his friendship with Connor is “the only thing that’s keeping them together” (10i). In other words, telling a lie is here Judged as being positive. He is Augmenting that statement when he says that it is “the only thing” (10i) that helps them. Evan disagrees, Negating the fact that Connor would be telling the truth. Connor’s reply is Sarcastic: he says “Oh, really? They seemed like a pretty happy family when you met them?” (12i-iii). Connor seems to be Opening up the dialogic space by asking a question: 94

First level: “Oh, really? They seemed [Entertain] like a pretty happy [Affect: +hap] family when you met them?”

Second level: sarcasm (evaluative indirect opposites)

Asking if they were a happy family. They were not a happy family. [Sarc. Entertain] [Proclaim: pronounce]

Intermediate step: Connor acts as if Evan can prove him wrong. Normative scale: “certainty” (positive to negative)

Sarcastic utterance 8 Connor (12i-iii) - evaluative indirect opposites

This instance of Sarcasm is another example of evaluative indirect opposites: the scale is not clear at first sight, but has to be derived from an intermediate step. The Sarcasm occurs in the subcategory of Engagement, as Connor is Opening up the dialogic space, asking for Evan to provide more evidence. However, that is not the goal of Connor’s question as he is not interested in any more opinions. In other words, the Sarcasm is put on a scale of ‘certainty’: Connor pretends to be uncertain about his opinion, but is actually confident. His utterance is meant to convey authority and — if it would not have been uttered Sarcastically — would be labelled as [Proclaim: Pronounce]. Evan does not respond to the question, which makes clear that he understood the underlying meaning. Instead he states that he does not “want to lie anymore” (13i):

13. Evan (i) I don’t [Disclaim: deny] want to lie [Judgement: neg. -ver] anymore [Affect: - hap]. 14. Connor (i) And what about Zoe [Judgement: -prop]? 15. Evan (i) Zoe said [Attributive: acknowledge], (ii) she just [Focus] … [Affect: -sec] (iii) she wants me [Affect: +hap] [Disclaim: counter]. 16. Connor (i) Right [Sarc. Proclaim: concur]. 17. Evan (i) She likes [Affect: +hap] me for who I am [Affect: +hap] [Disclaim: counter].

Extract 46 Dialogue preceding FF #1 (turns 13-17)

He is Judging his own Veracity, and Negates that. He does not want to have to Judge his own Veracity anymore: he wants it to stop, which shows his Unhappiness. Connor’s Judgement towards Evan takes another direction: instead of reminding Evan of his responsibilities towards his parents, Connor Judges Evan for not caring about how Zoe will feel if the truth is revealed. Evan’s Insecurity is shown when he 95

Counters the idea that anything would change in his relationship with Zoe. While sharing Zoe’s opinion, he hesitates to finish his sentence. By using the adverb “just” (15ii) before pausing, Evan Focusses the attention, still gathering his thoughts. According to Evan, Zoe shared that she “just wants [Evan]” (15iii). Connor again replies with Sarcasm, saying “right” (16i). This is a case of evaluative direct opposites as he means the exact opposite of what he is saying:

First level: “Right [Proclaim: concur].”

Second level: sarcasm (evaluative direct opposites)

Evan is right. Evan is wrong. [Sarc. Concur] [Disclaim: counter]

Normative scale: “agreeance” (positive to negative)

Sarcastic utterance 9 Connor (16i) - evaluative direct opposites

Connor pretends to agree with Evan, while he clearly does not. Evan tries to explain himself, Countering the implied meaning of Connor’s utterance. He says “she likes me for who I am” (17i), but Connor is quick to point out that the Evan she knows is not being honest with her. In his Sarcastic utterance, he explicitly Counters by using the tag “did you?” (18iv):

18. Connor (i) Except you didn’t [Disclaim: deny] happen to mention [Mitigation] (ii) that everything [Augmenting] you’ve told her, (iii) it’s all [Augmenting] been one [Augmenting] big [Augmenting] fucking [Augmenting] lie [Judgement: -ver], (iv) did you [Sarc. Judgement: +ver] [Disclaim: counter]?

NV3 [Evan says nothing.]

19. Connor (i) Oh. (ii) You left that part [Mitigation] out [Sarc. Judgement: +ver].

Extract 47 Dialogue preceding FF #1 (turns 18-19)

The utterance is filled with Augmenting as Connor makes it seem as if Evan has never told the truth: “everything” (18i) he has told her, “all” (18iii) has been a lie, and it was “one big fucking lie” (18iii). The Sarcasm can be found in the fact that Connor says “you didn’t happen to mention” (18i) as this instance of Mitigation is in clear contrast with the instances of Augmenting on the first level:

First level: “Except you didn’t [Disclaim: deny] happen to mention [Mitigation] that everything [Augmenting] you’ve told her, it’s all [Augmenting] been one [Augmenting] big [Augmenting] fucking [Augmenting] lie [Judgement: -ver], did you [Disclaim: counter]?”

Second level: sarcasm (evaluative indirect opposites)

You could have told her the truth. You should have told her the truth. [Sarc. Judgement: +ver] [Judgement: -ver]

Intermediate step: There is a contrast in importance. Normative scale: “importance” (positive to negative)

Sarcastic utterance 10 Connor (18i-iv) - evaluative indirect opposites

Connor is acting as if Evan has been withholding information that is not as important, although he means to say that it is really important. When Evan does not reply, he again replies Sarcastically, saying “Oh. You left that part out.” (19i-ii):

First level: “Oh. You left that part [Mitigation] out.”

Second level: sarcasm (evaluative indirect opposites)

You left that part out. You should have told her the truth. [Sarc. Judgement: +ver] [Judgement: -ver]

Intermediate step: There is a contrast in importance. Normative scale: “importance” (positive to negative)

Sarcastic utterance 11 Connor (19i-ii) - evaluative indirect opposites

Especially saying “that part” (19ii) indicates Sarcasm: Connor is Mitigating the importance of what Evan did not tell Zoe. Evan understands what Connor is saying, and asks Connor for advice:

20. Evan (i) So then, (ii) what if … [Affect: -sec] (iii) what if I did tell her the truth [Judgement: +ver] [Affect: -sec]? 21. Connor (i) She’ll hate [Affect: -hap] you. 22. Evan (i) Maybe [Entertain] [Affect: -sec] she would understand. (ii) Maybe [Entertain] [Affect: -sec] everyone [Augmenting] would understand. 23. Connor (i) Everyone [Augmenting] will hate [Affect: -hap] you.

Extract 48 Dialogue preceding FF #1 (turns 20-23)

Evan wants to “tell her the truth” (20iii), and thus Judge himself positively. His Insecurity is again shown: he asks for advice and is unable to finish his question at first. Connor’s response is not comforting when he says “she’ll hate you” (21i). In his reply, Evan uses the adverb “maybe”, which on the one hand shows his Insecurity, and on the other hand shows him Entertaining the idea that “she would understand” (22i) if he did tell her the truth. He Augments that statement, adding that “everyone would understand” (22ii). Connor repeats the same structure, stating that “everyone will hate [Evan]” (23i). Evan again Counters:

24. Evan (i) Not [Disclaim: deny] if I can just [Focus] [Affect: -sec], (ii) if I can explain it [Disclaim: counter], (iii) you know [Affect: -sec] [Entertain]? 25. Connor (i) You’ll go right back to where you started [Judgement: -cap]. (ii) No [Disclaim:

deny] friends [Affect: neg. +hap] [Augmenting]. 26. Evan (i) I want [Affect: des] to be done == with this [Affect: -hap]. 27. Connor == (i) Nobody [Augmenting]. (ii) Nothing [Augmenting]. (iii) Alone [Augmenting] [Augmenting].

Extract 49 Dialogue preceding FF #1 (turns 24-27)

Evan states that they would understand if he was given the chance to explain (24i-ii). He “just” (24i) wants a chance to explain, focussing on the importance of getting that chance. At first he does not finish his sentence, indicating his Insecurity. Also the fact that he eventually adds “you know” (24iii) shows his Insecurity: he is Opening the dialogic space, looking for reassurance. Connor, however, does not agree and Judges his naivety to believe that when he says “you’ll go right back to where you were” (25i). That statement is Augmented when he adds “no friends” (25ii), and thus negates a positive word. Although Evan again voices his desire to “be done with this” (26i), Connor continues Augmenting by uttering short, but harsh nouns, namely “nobody” (27i), “nothing” (27ii) and “alone” (27iii). Evan, however, still insists that he wants the lie to stop, as he is Unhappy with the reality: 98

28. Evan (i) I’m ready to be done with it [Affect: -hap]. 29. Connor (i) If you really [Focus] believe that, (ii) then why are you standing here, (iii) talking to yourself [Judgement: -ver]? (iv) Again [Augmenting]?

NV4 [Pause.]

30. Connor (i) You think [Proclaim: pronounce] (ii) you’re going to turn around all of a sudden [Focus] (iii) and start telling everyone the truth [Judgement: -ver]? (iv) You can’t [Disclaim: deny] even [Disclaim: counter] tell yourself the truth [Judgement: neg. +ver].

Extract 50 Dialogue preceding FF #1 (turns 28-30)

Connor confronts Evan with himself, telling him that “if you really believe that, then why are you standing here, talking to yourself?” (29i-iii). Connor is still an extension of Evan’s mind, meaning that although he seems to be in a conversation with Connor, he is talking to himself. By using the adverb “really” (29i) Connor Focusses on the fact that he doubts that Evan is being honest with himself. He claims to be “ready to be done with it” (28i), but at the same time he needs someone to reassure him that it is the right thing to do. When Evan does not answer, Connor continues. He doubts that Evan is ready, which he makes clear by stating “you think you’re going to turn around all of a sudden and start telling everyone the truth?” (30i-iii). The use of “all of a sudden” (30ii) Focusses on the abruptness of his choice. Although “you think” (30i) would imply Connor to encourage Evan to participate in the dialogic space, the content of the sentence claims differently: Connor highly doubts Evan will be telling everyone the truth and is therefore using authority to make that statement. That doubt is again shown when he claims that Evan “can’t even tell [himself] the truth” (30iv). He is both Countering and Denying Evan’s honesty. Evan’s request to clarify shows his Insecurity:

31. Evan (i) What are you talking about [Affect: -sec]? 32. Connor (i) How did you break your arm [Judgement: -ver]?

NV5 [A pall comes over Evan.]

33. Connor (i) How did you break your arm [Judgement: -ver], Evan [Augmenting]? 34. Evan (i) I fell. 35. Connor (i) Really? (ii) Is that what happened? [Sarc. Judgement: +ver] 36. Evan [less and less confident] (i) I was [Affect: -sec], (ii) I lost my grip (iii) and I … [Affect: -sec] (iv) I fell.

37. Connor (i) Did you fall [Sarc. Judgement: +ver]? (ii) Or did you let go [Sarc. Judgement: +ver]?

NV6 [Silence.]

Extract 51 Dialogue preceding FF #1 (turns 31-37)

Connor’s question about the real reason why Evan broke his arm, implies Judgement. Whereas Evan told everyone he fell out of a tree, Connor is doubting that to be true. Evan does not reply and Connor repeats the question, addressing Evan by name, which Augments the Judgement. Evan claims that he fell, but Connor does not believe him. By repeating the question once again, the utterance becomes Sarcastic:

First level: “Really [Judgement: -ver]? Is that what happened [Judgement: -ver]?”

Second level: sarcasm (evaluative indirect opposites)

Genuine question. Evan could be telling Connor already knows the truth. Nothing the truth. Evan says will change his mind. [Sarc. Judgement: +ver] [Judgement: -ver]

Intermediate step: Connor keeps repeating the same question Normative scale: “veracity” (positive to negative)

Sarcastic utterance 12 Connor (35i-ii) - evaluative indirect opposites

Connor could genuinely be asking about this once again, but because of the repetition, the utterance can no longer be considered sincere. Connor has already made up his mind, but keeps repeating his question to force Evan to be honest with himself. Evan’s Insecurity is shown when he restarts his sentence a few times and leaves pauses before again claiming that he fell. Connor restates his question once more:

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First level: “Did you fall [Judgement: -ver]? Or did you let go [Judgement: -ver]?”

Second level: sarcasm (evaluative indirect opposites)

Genuine question. Evan could be telling Connor already knows the truth. Nothing the truth. Evan says will change his mind. [Sarc. Judgement: +ver] [Judgement: -ver]

Intermediate step: Connor keeps repeating the same questions. Normative scale: “veracity” (positive to negative)

Sarcastic utterance 13 Connor (37i-ii) - evaluative indirect opposites

Now Connor directly asks him: “Did you fall? Or did you let go?” (37i-ii). Again, Connor has already made up his mind about what the correct answer is. However, by asking Evan the question directly, he wants Evan to be honest with himself. What follows is Connor singing the first few lines of For Forever.

4.3.2 Results

Also for this case study, the result section will be analysing each data set focussing on how each category is used. These categories were Attitude (feelings), Engagement (interaction with other voices) and Graduation (amplification of Attitudes).

4.3.2.1 The dialogue preceding For Forever

The dialogue before FF consists of one conversation, featuring four characters: Evan, Cynthia, Larry and Zoe. The following table describes the conversation in numbers, indicating the number of turns and number of words per character, as well as the percentages:

CONVERSATION IN NUMBERS Number of turns Number of words Number of words (%) Evan 19 321 50% Cynthia 19 170 26% Larry 7 34 5% Zoe 16 122 19% Full Conversation 61 647 100% Table 37 Dialogue preceding FF: conversation in numbers

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This overview shows significantly less turns for Larry in comparison to the other participants. This same trend is found in the number of words with Larry only uttering 5% of the total number. Both Evan and Cynthia have 19 turns, but the number of words is notably different: Evan utters half of all words in the conversation, while Cynthia utters just over 25%. Zoe has 16 turns and utters 19% of the total number of words.

4.3.2.1.1 Attitude

An overview of all instances of Attitude and its three subcategories Affect, Judgement and Appreciation shows a strong preference for Affect (62), followed by Judgement (49) and then — with significantly less instances — Appreciation (13). There are some clear differences among the characters, however. Whereas Evan and Cynthia mostly use instances of Affect, Zoe uses most instances of Judgement. Although Evan’s turns count 12 instances of Judgement as well, compared to the other categories, Zoe uses significantly more.

ATTITUDE: OVERVIEW ATTITUDE: AFFECT Affect Judgement Appreciation Total Evan 41 12 5 58 Cynthia 18 10 5 33 Larry 1 4 - 5 Zoe 2 23 3 28 Total 62 49 13 124 Table 38 Dialogue preceding FF: utterances of Attitude

The first category of Attitude is Affect (table 39). Although both Evan and Cynthia use several instances of Affect, there is a clear difference in the labelling of those utterances. Evan’s Insecurity still takes most of the instances of Attitude, namely 31 out of 46. Mostly the label was assigned when Evan left a pause or restated his sentence. However, in some cases Evan’s Insecurity would be shown when he is seeking reassurance by Opening the dialogic space. This was the case, for instance, in “In person, you know?” (12xiii-xiv) when he explained that Connor did not always want to hang out. In other examples Evan was hesitant to claim what Connor thought, always saying “I guess he was embarrassed” (25ii) or “I guess because he thought I was sort of, you know …” (27ii-iv). Cynthia also shows her Insecurity: at first she hesitantly asks Evan for more information about his friendship with Connor when asking “So you guys, you … you hung out a lot?” (9i-iii). The other 2 instances of Insecurity are related to not knowing what was going on in the mind of her son: she first reacts with “Why would he be embarrassed?” (26i) in response to Evan claiming so, and she states that “Connor was … he was

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a complicated person” (34i-ii), looking for the right words to describe her son. Finally, Zoe also seems to show Insecurity when she asks “Isn’t that what you meant?” (30i). However, her Insecurity is fake as she meant this Sarcastically.

ATTITUDE: AFFECT ATTITUDE: JUDGEMENT (un)Happiness (un)Happiness neg. (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T T Ev Ins Des T Evan 4 - 3 3 10 ------31 - - 31 ------4 31 3 3 - 41 Cynthia 13 2 - - 15 ------3 - - 3 ------13 5 - - - 18 Larry 1 - - - 1 ------1 - - - - 1 Zoe - - - 1 1 ------1 - - 1 ------1 - 1 - 2 Total 18 2 3 4 27 ------35 - - 35 ------18 37 3 4 - 62 Table 39 Dialogue preceding FF: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

The other instances of Affect are all labelled within the category of (un)Happiness. Larry and Zoe both utter one: Larry Evokes Happiness when he recalls making “an emergency landing” (59i) with a little toy plane, while Zoe Inscribes Connor’s Unhappiness, reminding Evan of the fact that “Connor hated skiing” (7i). Cynthia’s Happiness is either linked to her son’s friendship with Evan or happy memories of her family: she asks Evan “so you guys, you … you hung out a lot?” (9i-iii) and it makes her happier to hear more and more. She also tells Evan about her family and “the Harrises” (4i) and recalls memories, eventually even addressing others to join: “Remember that, Zoe?” (56iii). Her Unhappiness comes from the discussion she is having with Zoe: she does not “want to have this conversation in front of [their] guest” (40i) and she has to keep defending her son, saying that “there were good things” (42i). Evan also shows many instances of Happiness, both positive and negative. However, Evan’s Unhappiness is not a feeling right now: first it is Connor’s Unhappiness he is describing when he says that “Connor loved talking … about how much he hated skiing” (8iii-iv). Next, his Unhappiness comes from a memory where Connor and him were “so bummed” (55ii) because the orchard had closed. Apart from those instances, all others are labelled positive, and thus showing Happiness. Again, the first instances are describing Connor’s Happiness and not Evan’s: “Connor loved skiing” (6i) and “Connor loved talking … about how much he hated skiing” (8iii-iv). Finally, the most clear instances of Happiness are those where Evan is recalling “this one day, recently” (49v) where they had “a really great time together” (49iii).

As stated, Zoe uses the most instances of Judgement: her Judgement is aimed at all characters, namely herself, her mother, her father, Evan and Connor. Cynthia’s Capacity is Judged three times, always in relation to her being unable to see Connor the way Zoe does. She also Judges her father, saying “Don’t pretend like you don’t agree with me” (37i). Her Judgement towards her brother is strongly negative:

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she Judges his aggression, repetitiously talking about how Connor “shoved [Evan] at school last week” (19iii). In the discussion with Cynthia she first uses Negated positive Judgement, saying “Connor wasn’t very nice” (33i), imitating her mother’s Judgement, but then explicitly claims that “Connor was a bad person” (35i). Next, Zoe also Judges Evan, mostly doubting his Veracity. Everything he says is met with scepticism: first of all Evan says that “Connor loved skiing” (6i), which is met with a short “Connor hated skiing” (7i) from Zoe. Next, she also repeatedly asks more questions about Evan’s stories: for instance, she will ask “where [would they hang out]?” (11i) and why Connor would shove Evan if they were friends (19i-iii). She also Judges Evan’s Normality for having a secret email account with Connor and she calls him “a nerd” (28i). Finally, Zoe also Judges herself: she Sarcastically states “Isn’t that what you meant?” (30i), when she is called out by her dad for her behaviour towards Evan. She also states “Well, Connor wasn’t very nice, so that makes sense” (33i-ii), using her brother to justify her negative behaviour.

ATTITUDE: JUDGEMENT ATTITUDE: JUDGEMENT Judgement of Esteem Judgement of Sanction Capacity Capacity Sarc. Normality Normality neg. Normality Sarc. Tenacity Veracity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan 1 8 - - 9 ------2 2 ------1 1 Cynthia 2 - - 2 4 ------1 - - - 1 - - - 3 3 Larry ------Zoe - 3 - - 3 ------2 2 ------2 2 Total 3 11 - 2 16 ------4 4 - - - - - 1 - - - 1 - - - 6 6 Table 40 Dialogue preceding FF: subcategory of Attitude: Judgement, subsubcategory Judgement of Esteem (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

ATTITUDE: JUDGEMENT ATTITUDE: APPRECIATION Judgement of Sanction Total Veracity Veracity neg. Veracity Sarc. Propriety Propriety neg. Propriety Sarc. Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan ------1 8 - 3 12 Cynthia ------1 - - 1 - - 1 - 1 - - - - - 3 1 1 5 10 Larry ------3 - 1 4 ------3 - 1 4 Zoe - 11 - 1 12 ------1 - 1 2 - - 1 - 1 1 - - - 1 1 15 1 6 23 Total - 11 - 1 12 ------5 - 2 7 - - 2 - 2 1 - - - 1 5 27 2 15 49 Table 41 Dialogue preceding FF: subcategory of Attitude: Judgement, subsubcategory Judgement of Sanction (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

With regard to the other characters, Larry uses Judgement the least: he does not Judge Connor, but he does Judge Cynthia, himself and Zoe. First, he Judges Cynthia in response to her Judgement towards him: to defend himself for serving seconds, he Judges Cynthia’s Propriety, saying “The Harrises brought it over” (3i). Next, he also Judges himself in response to Cynthia calling him out for reading Connor’s

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emails: he states that “someone had to be the bad guy” (16i). Finally, he also Judges his daughter twice, stating “Zoe” (29i) and “Zoe, please” (36i) when she keeps the discussion open about Connor. However, apart from that, he does not get involved. Cynthia does respond to Zoe’s Judgement in that discussion, first negating positive Judgement when saying “that wasn’t very nice.” (32i). But when the discussion continues, Cynthia’s Judgement towards Zoe is clear negative Judgement, stating “You refuse to remember any of the good things. You refuse to see anything positive.” (38i-ii). Her Judgement towards Evan is positive, encouraging him to continue with his story. She says “You were saying something” (46ii) and “we want to hear what you have to say” (48i-ii). The Judgement towards Connor is also negative from both Cynthia and Evan, but is weaker Judgement than Zoe’s: Cynthia, on the one hand, questions if it is true that Connor shoved Evan (20i) and does not understand why her son would be embarrassed by Evan (26i). She also calls him “a complicated person” (34ii), which is not positive, but not strongly negative either. On the other hand, Evan indeed stated that “I guess he was embarrassed” (25ii), but already indicates that that observation could be wrong as well. Evan’s other Judgement is positive towards Connor, saying that “I remember a lot of good things about Connor” (43i). Evan’s Judgement is mostly aimed at himself, however, apart from those two instances where he Judges Connor. He blames his own Capacity for making his explanations hard to follow, saying that “that was probably very confusing” (14ix) and immediately Judges himself for telling a story: “I don’t know why I even brought it up” (49xvi-xvii). He also Judges himself when he says “Oh. I remember now.” (23i-ii), blaming himself for not remembering sooner and takes the blame for what they are Judging Connor for: he “tried to talk to him at school” (23vi), which causes Connor to shove him, but “it was my fault” (23viii). In response to Zoe’s Judgement, calling him a “nerd” (28i), he replies with his own Judgement towards himself, saying “Loser, I was going to say, actually.” (31i).

Finally, there is the category of Appreciation, with the results mostly showing instances of Valuation. Of those 11 instances within Valuation (and Negated Valuation), 8 are linked to “good things” they remember about Connor. During the discussion Cynthia blames Zoe for “[refusing] to remember” (38i) the good memories about her brother, while Zoe claims that “there were no good things” (39i), repeatedly asking her mother to give her some examples. Evan interferes to say that he “[remembers] a lot of good things” (43i), elaborating by vaguely referring to having “a really great time together, this one day, recently” (49iii-v). Each of these examples give value to memories they either do or do not have about Connor. The last 3 examples of Valuation are Evan Valuating his story as “stupid” (49xv) and Cynthia Valuing Connor and Evan’s day at the orchard as having been fun (60iv + 60vi).

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ATTITUDE: APPRECIATION ENGAGEMENT: OVERVIEW Reaction Valuation Valuation: neg. Total Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan - - 1 - 1 - - 3 1 4 ------4 1 5 Cynthia ------5 - 5 ------5 - 5 Larry ------Zoe ------2 - 2 - - 1 - 1 - - 3 - 3 Total - - 1 - 1 - - 10 1 11 - - 1 - 1 - - 12 1 13 Table 42 Dialogue preceding FF: subcategory of Attitude: Appreciation (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

The one utterance that was labelled with Reaction is Evan stating that the apples at the orchard were “the best” (53vi).

4.3.2.1.2 Engagement

A general overview of the second category Engagement (table 43) shows a clear favour for Contracting the dialogic space with 36 instances, which is more than three times the number of instances Opening the dialogic space. Evan uses the most instances in this category, namely 28, while the others use significantly less.

ENGAGEMENT: OVERVIEW Open Contract Total Evan 6 22 28 Cynthia 4 4 8 Larry 1 - 1 Zoe - 10 10 Total 11 36 47 Table 43 Dialogue preceding FF: utterances of Engagement

Evan and Cynthia use instances of both categories, while Larry and Zoe only use instances of respectively Opening up the dialogic space and Contracting the dialogic space. The first subcategory of Engagement is Opening up the dialogic space, which again shows a favour for one category, namely Entertain:

ENGAGEMENT: OPEN ENGAGEMENT: CONTRACT Attributive Entertain Sarc. Entertain Total Evan 1 5 - 6 Cynthia - 4 - 4 Larry - 1 - 1 Zoe - - - - Total 1 10 - 11 Table 44 Dialogue preceding FF: overview subcategory of Engagement: opening up the dialogic space

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From the total number of instances, only 1 is labelled Attributive. Evan acknowledges Connor’s stance when he says “I guess because he thought I was sort of, you know …” (27ii-iv). “He thought” indicates Connor’s opinion, but adding the “I guess” in front and “you know” at the end also indicates Entertainment as he leaves the space open to refute. Adding “I guess” is done each time Evan claims to know something about Connor. Another example is “I guess he was embarrassed” (25ii), where he is again Entertaining other opinions. One instance he is also Entertaining opinions when he states that “that was probably very confusing” (14ix), again waiting for the others to share their opinion. Cynthia also Entertains often: she explicitly asks Zoe if she remembers the picnics (56iii) and indicates her own opinion, saying “I bet that was fun” (60iii-iv), wanting Evan to elaborate more. Larry’s only instance of Engagement, is “I thought that place closed. Years ago.” (54i), where he Entertains the idea that the orchard might be closed.

With regard to the second subcategory of Engagement, Contracting the dialogic space, it is clear that Evan uses the most instances. First of all, the number of instances where Evan Concurs is significant. This naturally has to do with the fact that Jared had told Evan beforehand to “simply nod and confirm”. So, that is why he states that “Connor loved skiing” (6i), reformulates saying that “that’s what I meant” (8ii) and Concurs when Cynthia asks him if Connor took him to the orchard (51ii). When he is unable to Deny Connor shoving him, he also Concurs, saying “Oh. I remember now.” (23i-ii). However, the Concurring also has to do with his low self-esteem: when Zoe is insulting him for being a “nerd” (28i), he easily Concurs, even adding Judgement of his own, saying that he would have said “loser” (31i), but “nerd works, too” (31iii). Evan also Concurs himself with what he thinks is generally the case, saying “I knew it was stupid” (49xv) when finishing his story. Other participants do not Concur so easily: only Zoe Concurs with her mother when being asked if she remembers the picnics in the orchard: “Yeah. I do” (57i-ii). There is also one instance of Proclaim: pronounce, when Cynthia says “I think you’re the only one with an appetite, Larry.” (2i-ii). Cynthia is not Entertaining the idea of this being the case, she presents herself with authority when claiming this.

ENGAGEMENT: CONTRACT GRADUATION: OVERVIEW Disclaim Proclaim Total Counter Deny Total Concur Concur Sarc. Endorse Pronounce Total Evan 4 7 11 11 - - - 11 22 Cynthia - 3 3 - - - 1 1 4 Larry ------Zoe 1 7 8 2 - - - 2 10 Total 5 17 22 13 - - 1 14 36 Table 45 Dialogue preceding FF: overview subcategory of Engagement: contracting the dialogic space

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More instances of Disclaim were used, again mostly by Evan. He Counters 4 times: 2 of those are related to Zoe calling him a “nerd” (28i). Evan Counters, saying that he would have said “loser” (31i), but immediately he also Counters that statement, Concurring with Zoe to be called a “nerd”. Another instance is Evan’s response to Cynthia asking him if Connor “took you to the orchard?” (50i). Evan first Concurs, and then Mitigates, saying that it was “just that once” (53ii). However, he Counters by saying “But. He said the apples there were the best” (53iii), not wanting to ruin the hope Cynthia had. The instances of Denying are mostly linked to Evan explaining the different lies: they would send emails “so we wouldn’t have to, he didn’t want to always hang out.” (12xi-xii), they cannot have read those emails because “well, no, off course, yeah, I mean, that’s because he had a different account” (14iv), Connor shoved him because “he didn’t want us to talk at school, and I tried to talk to him at school.” (23iv-vi) and Connor did not want them to talk because “he didn’t want people to know we were friends.” (25i). Lastly, he also Denies importance: he says “it wasn’t that big a thing” (23vii) in response to Connor shoving him at school and says “it doesn’t matter” (47i), not wanting to elaborate. Cynthia’s instances of negation are her telling Zoe that “that wasn’t very nice” (32i) in response to telling Evan that he is a nerd. She also Denies wanting to have “this conversation in front of our guest” (40i) and Denies Evan’s train of thoughts that he should not have shared the story, by saying “No, Evan” (46i) and encouraging him to continue. Lastly, Zoe also Denies a few utterances. When talking about her brother, she says that “Connor wasn’t very nice” (33i) and explicitly Denies her mother’s nuance that “he was a complicated person” (34ii), saying “No, Connor was a bad person.” (35i) and “there were no good things” (39i). Zoe also calls out her dad for pretending to disagree with her when she says “Don’t pretend like you don’t agree with me.” (37i). Finally, she says “Isn’t that what you meant?” (30i), Sarcastically Denying to realise her mistake.

4.3.2.1.3 Graduation

The final category of Attitude is Graduation. Again, many instances were used in this data set. For the conversation in general Augmenting is the most used subcategory. However, for Evan, who utters the most instances, the division between Augmenting and Mitigation is similar (table 46):

GRADUATION: OVERVIEW HARD TO CLASSIFY Enrichment Augmenting Mitigation Focus Total Evan - 13 10 1 24 Cynthia - 9 3 - 12 Larry - 2 - - 2 Zoe - 11 - - 11 Total - 35 13 1 49 Table 46 Dialogue preceding FF: overview of all utterances of Graduation 108

First taking a look at Zoe’s instances, there are only instances Augmenting an utterance. Zoe will Augment her utterances to show her scepticism. First she Augments her statements when talking to Evan. She says “The weird thing is, the only time I ever saw you and my brother together was when he shoved you at school last week” (19i-iii) to make a statement, but will also repeat the same thing “I was there. I saw the whole thing. He pushed you, hard.” (22i-iv) to emphasize her disbelief. Her dislike of Evan is also shown when she Sarcastically states “Isn’t that what you meant?” (30i), implying that she stands by her statement of calling him a nerd. Secondly, she also addresses her mother angrily. She copies Cynthia’s “That wasn’t very nice” (32i), applying it to Connor, saying “Well, Connor wasn’t very nice, so that makes sense” (33i-ii). She also keeps repeating the same questions: “What were the good things?” (39ii), “What were the good things, Mom? Tell me.” (41i-ii). The only instance that is Augmented more positively is her Concurring twice when Cynthia asks if she remembers their picnics in the orchard. Larry uses less instances of Graduation: only 2 instances of Augmenting. He says that “somebody had to be the bad guy.” (18i) and Augments his thoughts of the orchard closing, adding “years ago” (54ii). Cynthia’s instances of Graduation make clear that she tries to avoid conflict: she reprimands Zoe saying “that wasn’t very nice” (32i), negating the positive Judgement to lessen the effect, she defends Connor’s behaviour by calling him “a complicated person” (34ii) rather than a bad person and she calls the discussion a “conversation” (40i) she does not want to have in front of guests. Secondly, she often Augments her Happiness: she emphasises who the people are when she says “We used to go skiing together, our families” (5i) and she specifically shows her Happiness when Evan starts telling stories, urging him to continue.

Finally, there are the instances of Evan. He as well Mitigates many things related to Connor: Connor shoving Evan at school was Evan who “tripped” (21i), it was “a misunderstanding” (23iii), not “that big a deal” (23vii) and it was “[Evan’s] fault” (23viii). Connor’s supposed Judgement of Evan is also Mitigated: Connor “didn’t really want” (25i) their friendship to be known about, he was embarrassed in Evan “a little” (25iii) and “he thought I was sort of …” (27ii-iv). He also Mitigates the importance of what he is saying: first he says “it doesn’t matter.” (47i) when he is asked to further elaborate and then when he does continue he says “Well, I was just …” (49i), as if it was a random thought rather than an important story to be shared. He also shares that Connor only took him to the orchard “once”, again Mitigating the importance of mentioning the story. With regard to Augmenting, many of the instances are linked to Connor again: Evan remembers “a lot of good things about Connor” (43i), they had “a really great time together” (49iv) and he Augments that by repeating it: “That’s what I keep thinking about. That day.” (49viii-ix). His Insecurity is often Augmented as well: he repetitiously apologises for interfering (45ii-iv) and repeats “once” (53i) twice to emphasise. He also agrees with Zoe, saying “Nerd

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works, too” (31iii), even though he had already called himself a “loser”, which shows his low self- esteem. Just before singing For Forever Evan lets his sentence trail off, saying “The whole day was just …” (61ii), Focussing the attention on the memory.

4.3.2.2 The dialogue preceding For Forever (reprise)

The final data set is the dialogue before the first reprise of For Forever, which only consists of one conversation as well, featuring two characters, namely Evan and Connor. The following table describes the conversation in numbers, indicating the number of turns and number of words per character, as well as the percentages:

CONVERSATION IN NUMBERS Number of turns Number of words Number of words (%) Evan 17 120 42% Connor 20 164 58% Full Conversation 37 284 100% Table 47 Dialogue preceding FF #1: conversation in numbers

This overview shows that Connor has a little more turns, as well as utters slightly more words than Evan. The division between the two characters is 42% for Evan and 58% for Connor.

4.3.2.2.1 Attitude

An overview of all instances of Attitude shows that none of the characters use any instances of Appreciation (table 48). Of the 51 instances of Attitude the number is more or less equally divided between the two with Evan using 28 instances, while Connor uses 23. However, there is a clear difference in category: Evan’s utterances are mostly labelled Affect, while Connor mostly uses Judgement:

ATTITUDE: OVERVIEW ATTITUDE: AFFECT Affect Judgement Appreciation Total Evan 23 5 - 28 Connor 4 19 - 23 Total 27 24 - 51 Table 48 Dialogue preceding FF #1: utterances of Attitude

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Almost half of Evan’s instances of Attitude are labelled as Insecurity (table 49). Again, this is often shown by pausing in the middle of a sentence as in “Zoe said, she just … she wants me.” (15i-iii), or by restating the utterance before finishing as in “Not if I can just, if I can explain it, you know” (24i-iii). In this data set, however, his Insecurity is also shown in the content of what he says. Already at the start of the conversation Evan states “I don’t think I can live with this anymore” (3i-ii), a statement that sounds less convincing than the first claim he made, saying “I’m not doing this. I’m done” (1i-ii). Two times he is also seeking Connor’s reassurance: first he asks “What if I did tell her the truth?” (20iii) and secondly he is Entertaining different scenarios, stating “Maybe she would understand. Maybe everyone would understand” (22i-ii). When the conversation takes another turn and Connor asks him about how he broke his arm, Evan’s Insecurity can be seen when he asks “What are you talking about?” (31i). Connor uses no instances of Insecurity.

ATTITUDE: AFFECT ATTITUDE: JUDGEMENT (un)Happiness (un)Happiness neg. (un)Happiness Sarc. (in)Security (un)Satisfied Desire Total Capacity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T T Ev Ins Des T Evan 2 5 1 - 8 3 - - - 3 ------11 - - 11 - - - - - 1 1 5 16 1 - 1 23 Connor - - 1 2 3 - - 1 - 1 ------2 2 - 4 Total 2 5 2 2 11 3 - 1 - 4 ------11 - - 11 - - - - - 1 1 5 16 3 2 1 27 Table 49 Dialogue preceding FF #1: subcategory of Attitude: Affect (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, Des = Desire, T = Total)

Evan also uses many instances labelled within the category of (un)Happiness, both positive and negative. Each of the negative utterances are linked to Evan voicing his Unhappiness over the situation he finds himself in, saying that “[he doesn’t] want to lie anymore” (13i). Although he is sure of his choice, he sounds less and less convincing as it progresses: he is “not doing this. [He’s] done” (1i-ii), “[he wants] to be done with this” (13i) — and it thus becomes a desire — and “[he’s] ready to be done with this” (28i). He also uses three Negated utterances when he says “no more emails” (5i) and “No more Connor Project. No more orchard” (7i-ii). Things that used to make him happy, no longer bring him that feeling and he wants it to be over. Finally, he also uses positive utterances, which are all linked to Zoe: Evan says that “Zoe said, she just … she wants me” (15i-iii) and that “she likes [him] for who I am” (17i). Through everything that has been happening, he convinces himself that Zoe will still love him if he tells her the truth. Connor also voices Unhappiness: he confronts Evan with the consequences, saying that “she’ll hate you” (21i), that “everyone will hate you” (23i). His only instance of Happiness is Negated, reminding Evan that he will go back to having “no friends” (25ii).

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As stated, within the category of Judgement Connor uses the most instances (table 50-51): he uses 19 instances, whereas Evan only uses 5. Notable is the number of those instances aimed at Evan: all of Connor’s instances are aimed at Evan, but also 3 out of 4 of Evan’s instances. Only once Evan Judges Connor, saying that “That’s not true” (11i) when Connor claims that Evan’s lie is “the only thing that’s keeping [the Murphy’s] together” (10i). In all other instances Evan is Judging himself: he Judges his Capacity to mean something to the Murphy’s, asking “need me for what?” (9i). He Judges himself for lying to them, also stating that he does not “want to lie anymore” (13i) and questions what would happen “if he did tell her the truth” (20ii-iii).

ATTITUDE: JUDGEMENT ATTITUDE: JUDGEMENT Judgement of Esteem Judgement of Sanction Capacity Capacity Sarc. Normality Normality neg. Normality Sarc. Tenacity Veracity Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan - 1 - - 1 ------Connor - 1 - - 1 ------Total - 2 - - 2 ------Table 50 Dialogue preceding FF #1: subcategory of Attitude: Judgement, subsubcategory Judgement of Esteem (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

ATTITUDE: JUDGEMENT ATTITUDE: APPRECIATION Judgement of Sanction Total Veracity Veracity neg. Veracity Sarc. Propriety Propriety neg. Propriety Sarc. Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Ev Ins T Evan - - 1 1 2 - - 1 1 2 ------1 2 2 5 Connor 1 4 - 1 6 1 - - - 1 5 - - - 5 - 6 - - 6 ------7 11 - 1 19 Total 1 4 1 2 8 1 - 1 1 3 5 - - - 5 - 6 - - 6 ------7 12 2 3 24 Table 51 Dialogue preceding FF #1: subcategory of Attitude: Judgement, subsubcategory Judgement of Sanction (Green = Positive value, Red = Negative value, Ev = Evoked, Ins = Inscribed, T = Total)

Connor’s 19 instances of Judgement are all aimed at Evan and only 1 is positive: he states that “that lie is the only thing that’s keeping them together” (10i), indicating that in this case Evan’s untruthfulness is helping them. All other instances are either negative or Sarcastically positive. Connor uses Sarcasm to remind Evan of the magnitude of the lie he told everyone, saying “except you didn’t happen to mention that everything you’ve told her, it’s all been one big fucking lie, did you?” (18i-iv). He also uses Sarcasm to prompt a reaction from Evan about his broken arm by repeatedly doubting Evan’s answers. For instance, Connor says: “Really? Is that what happened?” (35i). He also explicitly confronts Evan with his Veracity by explicitly asking “If you really believe that, then why are you standing here, talking to yourself?” (29i-iii) and “How did you break your arm, Evan?” (33i), telling Evan that he “can’t even tell [himself] the truth” (30iv). Finally, he also Judges Evan’s Propriety towards the Murphy’s: Connor Judges Evan for not taking into account his parents and Zoe’s feelings if the truth were to be revealed,

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reminding Evan of the fact that “they need [him]” (8ii). There is also 1 instance of Judgement of Capacity, Judging the Evan he was before he became popular because of the Connor Project, saying “You’ll go right back to where you started. No friends” (25i-ii).

There were no instances of Appreciation.

4.3.2.2.2 Engagement

Within the category of Engagement, both Connor and Evan use more instances Contracting the dialogic space: in total 20 utterances Contract the dialogic space, while 7 Open the dialogic space. Looking at the characters separately, Evan each time uses more instances.

ENGAGEMENT: OVERVIEW ENGAGEMENT: OPEN Open Contract Total Evan 5 12 17 Connor 2 8 10 Total 7 20 27 Table 52 Dialogue preceding FF #1: utterances of Engagement

Connor only Sarcastically Opens up the dialogic space: he Sarcastically Entertains the idea that Evan’s lie indeed did not help the Murphy’s, saying “Oh, really? They seemed like a pretty happy family when you met them?” (12i-ii). Evan, on the other hand, is Entertaining his utterances, showing his Insecurity. He says “I don’t think I can live with this anymore” (3i-ii) and Entertains the idea that Zoe would understand (22i-ii) because she “just … she wants me” (15ii-iii). He is also seeking Connor’s reassurance that everything would be okay if “I can explain it, you know?” (24ii-iii).

ENGAGEMENT: OPEN ENGAGEMENT: CONTRACT Attributive Entertain Sarc. Entertain Total Evan 1 4 - 5 Connor - - 2 2 Total 1 4 2 7 Table 53 Dialogue preceding FF #1: overview subcategory of Engagement: opening up the dialogic space

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With regard to Contracting the dialogic space, most instances are labelled within the category of Disclaim. Only Connor uses instances within the category of Proclaim, once Sarcastically agreeing with Evan when he says “right” (16i) in response to Evan claiming that Zoe “just … she wants me” (15ii-iii) and once using authority when he states “you think you’re going to turn around all of a sudden and start telling everyone the truth?” (30i-iii). He leaves no doubt that he does not think this will happen. Within the category of Disclaim more utterances were labelled:

ENGAGEMENT: CONTRACT GRADUATION: OVERVIEW Disclaim Proclaim Total Counter Deny Total Concur Concur Sarc. Endorse Pronounce Total Evan 4 8 12 - - - - - 12 Connor 2 4 6 - 1 - 1 2 8 Total 6 12 18 - 1 - 1 2 20 Table 54 Dialogue preceding FF: overview subcategory of Engagement: contracting the dialogic space

Evan uses 12 instances either Countering or Denying his utterance, while Connor uses 6. They are constantly Countering each other’s statements. Evan first Counters Connor when he says “Need me for what?” (9i) in response to the Murphy’s needing him. He also Counters Connor when he claims that “[Zoe] just … she wants me” (15i-ii) and that “she likes me for who I am” (17i) when Connor Judges his responsibility towards Zoe if he were to tell the truth. Finally, when Connor claims he will lose everything if he tells the truth, Evan Denies this, claiming that he will not “If I can explain it, you know?” (24i-iii). Connor also Counters Evan twice, each time also Denying: once he comments on Zoe only wanting Evan, saying “Except you didn’t happen to mention that everything you’ve told her, it’s all been one big fucking lie, did you?” (18i-iv) and once he says “You can’t even tell yourself the truth” (30iv). Other instances of Connor Denying are “You can’t just stop now” (2i) and “No friends” (30iv). Evan Denies more utterances. He states that “[He’s] not doing this” (1i), that “[he doesn’t] think [he] can live with this anymore” (3i-ii) and that “[He doesn’t] want to lie anymore” (13i). He also once explicitly states that what Connor is saying “is not true” (11i). Finally, Evan also Denies some words that first held a positive connotation for him: he says “No more emails” (5i) and “No more Connor Project. No more orchard.” (7ii).

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4.3.2.2.3 Graduation

The final category is Graduation. There is a clear difference in use between Evan and Connor: Connor uses 20 instances, while Evan only uses 6. When Evan Augments an utterance, he does so by repeating the same thing twice: he says “I’m not doing this. I’m done.” (1i-ii) and “No more Connor Project. No more orchard” (7i-ii). He also Augments his statement when he says that not only Zoe would understand, but “maybe everyone would understand” (22ii). Another category of Graduation is Focus: by using the adverb “just” Evan Focusses the attention twice: he says “Zoe said, she just … she wants me” (15i-iii) and “Not if I can just, if I can explain it, you know?” (24i-iii).

GRADUATION: OVERVIEW HARD TO CLASSIFY Enrichment Augmenting Mitigation Focus Total Evan - 3 - 2 5 Connor - 14 3 3 20 Total - 17 3 5 25 Table 55 Dialogue preceding FF #1: overview of all utterances of Graduation

Connor uses many more instances of Graduation, mostly Augmenting. He is Augmenting the importance of Evan’s lie, saying that it is “the only thing that’s keeping them together” (10i), but he is also Augmenting the magnitude of the lie, saying that “everything you’ve told her, it’s all been one big fucking lie” (18i-iv). When Evan wants to reveal the truth, Connor Augments the consequences of doing that: “Everyone will hate you” (23i), he will have “no friends” (25ii) and there will be “Nobody. Nothing. Alone” (27i-iii). Also when confronting Evan about him not being honest with himself, Connor Augments: Evan is talking to himself “again” (29iv) and he calls Evan by name when he says “How did you break your arm, Evan?” (33i). Finally, Connor uses 3 instances of Mitigation, as well as 3 Focussing: he says “they seemed like a pretty happy family when you met them?” (12ii-iii), Mitigating his family being happy, and he says “except you didn’t happen to mention […]” (18i) and “You left that part out” (19ii), Mitigating the magnitude of Evan’s lie. He Focusses when he says “You can’t just stop now.” (2i), Focussing on the fact that it is not that simple. Also when he says “if you really believe that, […]” (29i), Connor Focusses on the Veracity of Evan’s statement, which is also the case when he says “You think you’re going to turn around all of a sudden and start telling everyone the truth?” (30i-iii) where “all of a sudden” again Focusses on the believability of what Evan wants to do.

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4.3.3 Discussion 4.3.3.1 Relation between the first dialogue and the song

The song is an extension of the final part of the dialogue where the family agrees with one another, reminiscing about “their picnics out there” (56ii) with “that little toy plane you would fly” (58i). In the song Evan also adds his good memories with Connor. This Happiness is in clear contrast to the other parts of the dialogue as mother and daughter are continuously fighting about Connor. On the one hand, there is Cynthia who defends her son: Judgement towards Connor is Mitigated, she values the memories positively and urges Evan to tell her about their friendship. Zoe, on the other hand, is Judging her brother harshly, is sceptical about everything Evan says regarding Connor and Denies any positive Valuations of those memories. It is only when Cynthia recalls those specific memories at the orchard, that Zoe’s stance changes. The song is a continuation of the Happiness over those memories, indicating that Evan and Connor also had happy memories.

At first the song describes the idealised friendship to please Cynthia. This aim was already made clear in the dialogue: Evan would make up stories each time he saw the pain on Cynthia’s face. The moment Evan interrupts the fight to say that he remembers “a lot of good things about Connor” (43i), Cynthia seems to be losing the argument as she keeps repeating “there were good things” (42i) without adding details. He is also continuously Mitigating Judgement towards Connor, taking the blame for everything himself. The song describes Connor as Evan’s best friend, something Cynthia would have loved for her son. Towards the end of the song, the story becomes more personal. Whereas the song started as Connor sharing his family memories with Evan, Evan now makes up a personal story about how Connor would find him when he broke his arm. The song thus functions as a way to help Cynthia, as well as a way for Evan to gain perspective on what he wants. He is thinking back to a moment in need and pictures Connor there to help him. It is a story about what could have been. This song is also an “I Want” song, where Evan is voicing his Desire to create memories with a real friend, to find someone to share moments with.

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4.3.3.2 Relation between the dialogues

The part of the song that is reprised is the first verse and thus the beginning of the song:

End of May or early June This picture-perfect afternoon we share Drive the winding country road Grab a scoop at “À La Mode” and then … we're there

A similarity between the two dialogues is the Judgement of Veracity aimed at Evan: in the dialogue preceding the main song, Zoe is sceptical and she Judges Evan’s Veracity in regard to his stories about Connor. In response, and also encouraged by seeing Cynthia in pain, Evan made up more lies, eventually culminating in a song full of Happiness. In the dialogue preceding the reprise, however, Evan’s Veracity is also Judged, but by Connor. Whereas Evan has been living this life based on lies, Connor is now confronting him with it. He Judges Evan, not only for lying to others, but also for lying to himself. The fact that 5 of these Judgements are uttered Sarcastically, make the Judgement even more harsh. He confronts Evan with the nature of his relationship with Zoe, as well as with the truth of him breaking his arm. Instead of making up more lies, Evan is forced to face the truth.

Another similarity is Evan’s use of Engagement. In the first dialogue Evan Concurs, Counters and Denies to make the Murphy’s believe his friendship with Connor: he agrees with everything they tell him about Connor and Counters and Denies every doubt they have. His reaction to Connor’s Judgement is similar, as he also Counters and Denies Connor’s statements: he Counters the idea that Zoe would not want him anymore when he tells her the truth and Denies that he will lose everything, stating that that will not happen “if [he] can just explain it” (24ii). However, the aim is different: in the first dialogue Evan wanted to prevent the Murphy’s from finding out the truth, while in the dialogue preceding the reprise he does not want to see the truth himself. The reprise is a reminder of that.

The reprise is sung by Connor, not by Evan. The main song expanded the Happiness that could be felt near the end of the dialogue. The reprise does the opposite: it refers back to that Happiness in the main song, reminding Evan of what he always dreamed of and how he will lose all of that if he were to tell the truth. In other words, the reprise is framed as a reminder of the reality he trapped himself in by telling those lies.

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5. Conclusion

The aim of this dissertation was to look at the embedding of lyrics into a musical script. To do this Martin & White’s Appraisal theory was used to look at the context in the dialogues preceding a song. First, the musical Dear Evan Hansen was introduced by giving a brief synopsis of the emotional musical. It was explained that there were two research questions: on the one hand, a comparison of the instances of Appraisal in the dialogue with the songs and, on the other hand, a comparison between the dialogue before the songs and the one preceding the songs’ reprise. In section 2 the musical genre was defined, elaborating on how the narrative is built and how songs are used within that narrative. This section also introduced the concept of a reprise. Next, Martin & White’s Appraisal theory was explained: there was a general introduction (3.1), followed by a different section per category. In section 3.2 Attitude was presented with its three subcategories Affect, Judgement and Appreciation. Next, section 3.3 elaborated on the second category Engagement, explaining that this was again subdivided into Contracting and Opening up the dialogic space. Followingly, section 3.4 there was an overview of the category Graduation following Eggins and Slade’s division into Enrichment, Augmenting and Mitigation and adding Focus as an extra category. Finally, in section 3.5 Sarcasm was added to the Appraisal model, dividing the instances in evaluative direct opposites and evaluative indirect opposites. In section 4, the methodology was explained, presenting two case studies, namely Waving Through a Window and For Forever. For each of the case studies a detailed close reading revealed the instances of Appraisal in the dialogues as well as the most important themes in the song itself. In the results sections the numbers were revealed, making it possible to look at the most striking results per dialogue and per character. At the end of each case study, the results of the analysis were discussed.

The dialogue preceding Waving Through a Window was filled with Evan’s Insecurity and with Judgement towards Evan. This was also translated into the song, focusing on Evan’s character specifically. The function of the song was to introduce an anxious young man struggling to fit in. The context preceding the first reprise was different: it showed many instances of Unhappiness, repetitious Denying of hope and Evan Judging himself. This gave the reprise an even more sombre meaning. Finally, the second reprise showed the shortcomings of only analysing the dialogues preceding the reprise as the singer was not a participant of that dialogue. The fact that Alana was singing foreshadowed what would happen later in the musical.

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The dialogue preceding For Forever was filled with Judgement. However, near the end of the song the Murphy’s recall some specific moments of a day at the orchard and the song elaborates on this Happiness. The idealised version of Connor that is shown in the song was also already hinted at in the dialogue: whereas Zoe harshly Judged her brother negatively, both Evan and Cynthia Mitigated their Negative Judgement towards Connor. The function of the song is to introduce Evan’s Desire to build a strong friendship as well as a way for Cynthia to deal with her grief. The comparison with the dialogue preceding the first reprise showed many similarities: in both dialogues Evan’s Veracity is Judged, respectively by Zoe and Connor. Whereas Evan in the first dialogue Concurs, Counters and Denies to keep his secret, in the dialogue preceding the reprise he is Countering and Denying in order not to have to face the truth. The reprise functions as a reminder of everything he was longing for and of everything he is about to lose.

In conclusion, this dissertation was able to decipher how the lyrics are embedded into the musical script using the Appraisal model as its basis. This could be the first step to further research. First of all, as was shown with the second reprise of WTAW, it is wrong to state that the function of a song depends only on the preceding dialogue. Although this thesis did provide some insight into the embedding of lyrics into the musical script, an analysis of the entire script could reveal how the lyrics are embedded into the narrative as a whole. Secondly, for this dissertation only the word-for-word repetitions of the song were used as case studies. It would be interesting to see the differences in function with those reprises that only use the same music and change the lyrics. Finally, the use of Sarcasm could be further elaborated on. In this thesis I only briefly touched upon the use of Sarcasm. It would be interesting to research how and why Sarcasm is used throughout the entire script or to broaden the data set and look at the use of Sarcasm in different text genres.

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6. References

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Feldman, Adam. Broadway review: Dear Evan Hansen is lit by a dazzling star turn. Time Out New York, 4 Dec. 2016, https://www.timeout.com/newyork/blog/broadway-review-dear-evan-hansen-is-lit-by- a-dazzling-star-turn-120416.

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Priego-Valverde, Béatrice. “Speaking Through Other Voices: Conversational humour as a Polyphonic Phenomenon.” Spaces of Polyphony. Vol. 15, edited by Lorda, Clara-Ubaldina, and Patrick Zabalbeascoa, John Benjamins Publishing, 2012, pp. 43 - 55.

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7. Appendices

Appendix 1: Overview of the data selected for the analysis

Song Song with preceding dialogue selected for case study 1 Song Song with preceding dialogue selected for case study 2

Act 1

• Anybody Have a Map? • Waving Through a Window • Waving Through a Window (reprise 1) • Waving Through a Window (reprise 2) • For Forever • Sincerely, Me • Requiem • If I Could Tell Her • Disappear • You Will Be Found

Act 2

• Sincerely, Me (reprise) • To Break in a Glove • Only Us • Good for You • For Forever (reprise) • You Will Be Found (reprise) • Words Fall • So Big/So Small • Finale

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Appendix 2: Data set dialogue preceding WTAW

Turn Appraiser Data

1. Alana (i) How was your summer?

NV2 [Evan looks around, not sure if she’s speaking to someone else.]

2. Evan (i) My …? 3. Alana (i) Mine was productive. (ii) I did three internships and ninety hours of community service. (iii) I know: (iv) wow. 4. Evan (i) Yeah. (ii) That’s, (iii) wow. == (iv) That’s really impressive. 5. Alana (i) Even though I was so busy, (ii) I still made some great friends. (iii) Or, (iv) well, (v) acquaintances, more like. 6. Evan [gathering his courage] (i) Do you want to maybe … (ii) I don’t know (iii) what you’re, um … (iv) do you want to sign my cast? 7. Alana (i) Oh my God. (ii) What happened to your arm? 8. Evan (i) Oh. (ii) Well. (iii) I broke it. (iv) I was climbing a tree … 9. Alana [Not listening at all]: (i) Oh really? (ii) My grandma broke her hip getting into the bathtub in July. (iii) That was the beginning of the end, the doctors said. (iv) Because then she died.

NV3 [Evan has no idea how to respond to this. Alana plasters on a glowing smile.]

10. Alana (i) Happy first day.

NV4 [Alana exits as Jared Kleinman approaches Evan with the kind of practiced swagger only the deeply Insecure can truly pull off.]

11. Jared (i) Is it weird (ii) to be the first person in history (iii) to break their arm from jerking off too much (iv) or do you consider that an honor? 12. Evan (i) Wait. (ii) What? (iii) I didn’t, (iv) I wasn’t … doing that. 123

13. Jared (i) Paint me the picture: (ii) you’re in your bedroom, (iii) you’ve got Zoe Murphy’s Instagram up on your weird, off-brand cell phone … 14. Evan (i) That’s not (ii) what happened. (iii) Obviously. (iv) I was, (v) um, (vi) well (vii) I was climbing a tree (viii) and I fell. 15. Jared (i) You fell out of a tree? (ii) What are you, like, an acorn? 16. Evan (i) Well, (ii) I was, (iii) I don’t know (iv) if you know this, (v) but I worked this summer as an apprentice park ranger at Ellison State Park. (vi) I’m sort of a tree expert now. (vii) Not to brag, but …

NV5 [Jared says nothing]

17. Evan (i) Anyway.(ii) I tried (iii) to climb this forty-foot-tall oak tree. 18. Jared (i) And then you fell …? 19. Evan (i) Well, (ii) except it’s a funny story, (iii) because there was this solid ten minutes after I fell, (iv) when I just lay there on the ground (v) waiting for someone (vi) to come get me. (vii) Any second now, I kept saying to myself. (viii) Any second now, here they come. 20. Jared (i) Did they? 21. Evan (i) No. (ii) Nobody came. (iii) That’s the, (iv) that’s what’s funny. 22. Jared (i) Jesus Christ … 23. Evan (i) How was, (ii) what did you do for the, (iii) you had a good summer? 24. Jared (i) Well, (ii) my bunk dominated in capture the flag (iii) and I got to second- base-below-the-bra with this girl from Israel (iv) who’s going to like be in the army … (v) so, yeah, hopefully that answers your question.

NV6 [Jared turns to go.]

25. Evan (i) Do you want to sign my cast? 26. Jared (i) Why are you asking me? 27. Evan (i) Well, (ii) just, (iii) I thought, (iv) because we’re friends. 28. Jared (i) We’re family friends. (ii) That’s like a whole different thing (iii) and you know it.

NV7 [He punches Evan in the arm.]

29. Jared (i) Hey. (ii) Tell your mam (iii) to tell my mom (iv) I was nice to you (v) or else my parents won’t pay for my car insurance.

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30. Evan (i) I will.

NV8 [Connor crosses]

31. Jared (i) Hey, Connor. (ii) I’m loving the new hair length. (iii) Very school shooter chic.

NV9 [Connor stops, casts a withering glance at him.]

32. Jared (i) I was kidding. (ii) It was a joke. 33. Connor [Deadpan] (i) Yeah, (ii) no, (iii) it was funny. (iv) I’m laughing. (v) Can’t you tell? (vi) Am I not laughing hard enough for you? 34. Jared [laughs nervously, bravado gone] (i) You’re such a freak.

NV10 [Jared, laughing, nervously exits. Connor turns to Evan. Evan laughs, uncomfortable.]

35. Connor (i) What the fuck are you laughing at? 36. Evan (i) What? 37. Connor (i) Stop fucking laughing at me. 38. Evan (i) I’m not. 39. Connor (i) You think (ii) I’m a freak? 40. Evan (i) No. (ii) I don’t - 41. Connor (i) I’m not a freak 42. Evan (i) But I wasn’t - 43. Connor (i) You’re the fucking freak.

NV11 [Connor shoves him to the ground as he storms away. Slowly, Evan stands.]

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Appendix 3: Data set the song Waving Through a Window

Song Evan: [VERSE 1] I've learned to slam on the brake Before I even turn the key Before I make the mistake Before I lead with the worst of me

[VERSE 2] Give them no reason to stare No slipping up if you slip away So I got nothing to share No, I got nothing to say

[PRE-CHORUS] Step out, step out of the sun If you keep getting burned Step out, step out of the sun Because you've learned, because you've learned

[CHORUS] On the outside, always looking in Will I ever be more than I've always been? 'Cause I'm tap, tap, tapping on the glass I'm waving through a window I try to speak, but nobody can hear So I wait around for an answer to appear While I'm watch, watch, watching people pass I'm waving through a window, oh Can anybody see, is anybody waving back at me?

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[VERSE 3] We start with stars in our eyes We start believing that we belong But every SUN doesn't rise And no one tells you where you went wrong

[PRE-CHORUS] Step out, step out of the sun If you keep getting burned Step out, step out of the sun Because you've learned, because you've learned

[CHORUS] On the outside, always looking in Will I ever be more than I've always been? 'Cause I'm tap, tap, tapping on the glass Waving through a window I try to speak, but nobody can hear So I wait around for an answer to appear While I'm watch, watch, watching people pass Waving through a window, oh Can anybody see, is anybody waving?

[BRIDGE] When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? Did I even make a sound? Did I even make a sound?

127

It's like I never made a sound Will I ever make a sound?

Reprise #1

Evan: When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound?

Reprise #2

Alana: On the outside, always looking in Will I ever be more than I've always been? 'Cause I'm tap, tap, tapping on the glass I'm waving through a window

128

Appendix 4: Data set dialogue preceding WTAW #1

Turn Appraiser Data

NV1 [Heidi, in her nurse’s scrubs, on her cell phone, a bit harried, an eye on the clock. Evan, at school, on his phone.]

1. Heidi (i) Shit, honey. (ii) I know (iii) I was supposed to pick you up for your appointment. (iv) I’m stuck at work. (v) Erica called in with the flu (vi) and I’m the only other nurse’s aide on today, (vi) so I volunteered to pick up her shift …

NV2 [Evan is used to this, almost expecting it.]

2. Evan (i) It’s fine. 3. Heidi (i) It’s just, (ii) they announced more budget cuts this morning, (iii) so anything I can do to show (iv) that I’m, you know, a team player … 4. Evan (i) It’s fine. (ii) I’ll take the bus. 5. Heidi [Relieved] (i) Perfect. (ii) That’s perfect. (iii) Oh (iv) and I’m going straight from here to class, (v) so I won’t be home until late, (vi) so please eat something. (vii) We’ve got those Trader Joe’s dumplings in the freezer … 6. Evan (i) Maybe. 7. Heidi (i) Did you write one of those letters yet? (ii) Dr. Sherman’s expecting you to have one. (iii) “Dear Evan Hansen. This is going to be a good day and here’s why”? 8. Evan [Lying] (i) Yeah, (ii) no, (iii) I already finished it. (iv) I’m in the computer lab right now, (v) printing it out. 9. Heidi (i) I hope (ii) it was a good day, sweetheart. 10. Evan (i) It was … (ii) yeah, (iii) it was really great. 11. Heidi (i) Great. (ii) That’s great. (iii) I hope (iv) it’s the beginning of a great year. (v) I think (vi) we both could use one of those, huh? (vii) Shit. (viii) I have to run. (ix) Bye. (x) I love you.

NV3 [Heidi hangs up and goes.]

12. Evan (i) Bye. NV4 [A long moment alone. 129

Evan opens his laptop and begins to compose his letter.]

13. Evan (i) Dear Evan Hansen:

(ii) It turns out, (iii) this wasn’t an amazing day after all. (iv) This isn’t going to be an amazing week or an amazing year. (v) Because … why would it be? (vi) Oh (vii) I know. (viii) Because there’s Zoe. (ix) And all my hope is pinned on Zoe. (x) Who I don’t even know (xi) and who doesn’t know me. (xii) But maybe if I did. (xiii) Maybe if I could just talk to her, (xiv) then maybe … (xv) maybe nothing would be different at all.

(xvi) I wish (xvii) that everything was different. (xviii) I wish (xix) that I was a part of … something. (xx) I wish (xxi) that anything I said … mattered to anyone. (xxii) I mean, (xxiii) face it : (xxiv) would anybody even notice (xxv) if I disappeared tomorrow?

(xxvi) Sincerely, your best and most dearest friend, Me.

130

Appendix 5: Data set dialogue preceding WTAW #2

Turn Appraiser Data

[Evan and Jared, online]

1. Jared (i) A letter to yourself? (ii) What the crap does that even mean? (iii) It’s like, some kind of sex thing? 2. Evan (i) No, (ii) it’s not a sex thing. (iii) It’s … (iv) it was an assignment. 3. Jared (i) Why are you talking to me about this? 4. Evan (i) I didn’t know who else to talk to. (ii) You’re my only … family friend. 5. Jared [Too pathetic to even engage] (i) Oh my God. 6. Evan (i) I don’t know (ii) what to do. (iii) He stole the letter from me three days ago, (iv) and then he just, (v) he hasn’t been at school since. 7. Jared (i) That does not bode well for you. 8. Evan (i) What is he going to do with it? 9. Jared (i) Who knows? (ii) Connor Murphy is batshit out of his mind. (iii) Do you remember (iv) when he threw a printer at Mrs. G in second grade, (v) because he didn’t get to be line leader that day? 10. Evan (i) Do you think (ii) he’s going to show the letter to other people? 11. Jared [Obviously] (i) He’s going to ruin your life with it. (ii) For sure. (iii) I mean, (iv) I would.

131

Appendix 6: Data set dialogue preceding FF

Turn Appraiser Data

NV1 [Dinner at the Murphy’s. Prominently, in the center of the table, a bowl of fresh apples. Evan is afraid to move or make a sound. Larry serves himself seconds.]

1. Larry (i) Would anyone else like some more chicken? 2. Cynthia (i) I think (ii) you’re the only one with an appetite, Larry. 3. Larry [Defensive] (i) The Harrises brought it over. 4. Cynthia [To Evan] (i) Did Connor tell you about the Harrises?

NV2 [Evan nods.]

5. Cynthia (i) We used to go skiing together, our families. 6. Evan [nods] (i) Connor loved skiing. 7. Zoe (i) Connor hated skiing. 8. Evan (i) Well, right. (ii) That’s what I meant. (iii) Connor loved … (iv) talking about how much he hated skiing.

NV3 [Zoe just stares at him.]

9. Cynthia (i) So you guys, (ii) you … (iii) you hung out a lot? 10. Evan (i) Pretty much. 11. Zoe (i) Where? 12. Evan (i) Oh (ii) you mean, (iii) like, (iv) where did we …? (v) Well, (vi) we mostly hung out at my house. (vii) I mean, (viii) sometimes we’d come to his house (ix) if nobody else was here. (x) We would email a lot, though, mostly. (xi) So we wouldn’t have to, (xii) he didn’t want to always hang out. (xiii) In person, (xiv) you know? 13. Zoe (i) We looked through his emails. (ii) There aren’t any from you. 14. Evan (i) Well, (ii) no, (iii) of course, (iv) yeah, (v) I mean, (vi) that’s because he had a different account. (vii) A secret account. (viii) I should have said that before. (ix) That was probably very confusing.

132

15. Zoe (i) Why was it secret? 16. Evan (i) Just so no one else could, (ii) it was more private, (iii) I guess , that way. 17. Cynthia [To Larry] (i) He knew (ii) you read his emails. 18. Larry (i) Somebody had to be the bad guy.

NV4 [A tense pause.]

19. Zoe [To Evan] (i) The weird thing is, (ii) the only time I ever saw you and my brother together was (iii) when he shoved you at school last week. 20. Cynthia (i) He shoved you? 21. Evan (i) I um … (ii) I tripped. 22. Zoe (i) I was there. (ii) I saw the whole thing. (iii) He pushed you, (iv) hard. 23. Evan (i) Oh. (ii) I remember now . (iii) That was a misunderstanding. (iv) Because, the thing was, (v) he didn’t want us to talk at school, (vi) and I tried to talk to him at school. (vii) It wasn’t that big a thing. (viii) It was my fault . 24. Zoe (i) Why didn’t he want you to talk to him at school? 25. Evan (i) He didn’t really want people to know we were friends. (ii) I guess he was embarrassed. (iii) A little. 26. Cynthia (i) Why would he be embarrassed? 27. Evan (i) Um. (ii) I guess (iii) because he thought I was sort of, (iv) you know … 28. Zoe (i) A nerd? 29. Larry (i) Zoe. 30. Zoe (i) Isn’t that what you meant? 31. Evan (i) Loser, I was going to say, actually. (ii) But. (iii) Nerd works, too. 32. Cynthia (i) That wasn’t very nice. 33. Zoe (i) Well, Connor wasn’t very nice, (ii) so that makes sense.

NV5 [Cynthia takes a breath, struggles to maintain her pose.]

34. Cynthia (i) Connor was … (ii) he was a complicated person. 35. Zoe (i) No, Connor was a bad person. (ii) There’s a difference. 36. Larry (i) Zoe, please. 37. Zoe [To Larry] (i) Don’t pretend like you don’t agree with me.

NV6 [Cynthia’s distress grows more and more difficult for Evan to watch.]

133

38. Cynthia (i) You refuse to remember any of the good things. == (ii) You refuse to see anything positive. 39. Zoe == (i) Because there were no good things. (ii) What were the good things? 40. Cynthia (i) I don’t want to have this conversation in front of our guest. 41. Zoe (i) What were the good things, Mom? == (ii) Tell me. 42. Cynthia == (i) There were good things.

NV7 [Before even thinking, Evan finds the words tumbling out.]

43. Evan (i) I remember a lot of good things about Connor.

NV8 [All eyes turn to him at once, as he realizes what he’s done.]

44. Zoe (i) Like what? 45. Evan (i) Never mind. (ii) I shouldn’t have, (iii) I’m sorry, (iv) never mind. 46. Cynthia (i) No, Evan. (ii) You were saying something. 47. Evan (i) It doesn’t matter. (ii) Really. 48. Cynthia (i) We want to hear (ii) what you have to say. (iii) Please.

NV9 [Beat.]

49. Evan (i) Well, (ii) I was just … (iii) Connor and I … (iv) we had a really great time together, (v) this one day, recently.

NV10 [Evan keeps talking, unsure if he’s connecting or not.]

(vi) That’s something good (vii) that I remember about Connor. (viii) That’s what I keep thinking about. (ix) That day.

NV11 [His eyes land on the bowl of apples in front of him.]

(x) At the apples, um … (xi) the apples … place.

NV12 [Beat.]

(xii) Anyway. (xiii) It’s, (xiv) I knew (xv) it was stupid. (xvi) I don’t know (xvii) why I even brought it == up.

50. Cynthia == (i) He took you to the orchard?

NV13 [Evan looks at Cynthia, sees the hope in her eyes. Even Zoe has turned silent.]

134

51. Evan (i) Yes. (ii) He did. 52. Cynthia (i) When? 53. Evan (i) Once. (ii) It was just that once. (iii) But. (iv) He said the apples there were the best. 54. Larry (i) I thought that place closed. (ii) Years ago. 55. Evan (i) Exactly. (ii) Which is why we were so bummed (iii) when we got there, (iv) because it was completely, (v) it’s totally closed down now. 56. Cynthia (i) We used to go to the orchard all the time. (ii) We’d do picnics out there. (iii) Remember that, Zoe? 57. Zoe (i) Yeah. (ii) I do. 58. Cynthia [To Larry] (i) You and Connor had that little toy plane you would fly. (ii) Until you flew it into the creek. 59. Larry [Can’t help but smile] (i) That was an emergency landing. 60. Cynthia [To Evan] (i) I can’t believe (ii) he took you there. (iii) I bet (iv) that was fun. (v) I bet you two, (vi) I bet you had fun . 61. Evan (i) We did. (ii) The whole day was just …

135

Appendix 7: Data set the song For Forever

Song Evan: [VERSE 1] End of May or early June This picture-perfect afternoon we share Drive the winding country road Grab a scoop at “À La Mode” and then … we're there An open field that's framed with trees We pick a spot and shoot the breeze like buddies do

[PRE-CHORUS] Quoting songs by our fav’rite bands Telling jokes no one understands except us two And we talk and take in the view

[CHORUS] All we see is sky for forever We let the world pass by for forever Feels like we could go on for forever This way Two friends on a perfect day

[VERSE 2] We walk a while and talk about The things we'll do when we get out of school Bike the Appalachian Trail Or write a book or learn to sail Wouldn't that be cool? There's nothing that we can't discuss Like, girls we wish would notice us but never do He looks around and says to me, "There's nowhere else I'd rather be," and I say, "Me too"

136

[PRE-CHORUS] And we talk and take in the view We just talk and take in the view

137

[CHORUS] All we see is sky for forever We let the world pass by for forever Buddy, you and I for forever this way This way All we see is light 'Cause the sun burns bright We could be all right for forever this way Two friends True friends On a perfect day.

Reprise Connor: End of May or early June This picture-perfect afternoon we share Drive the winding country road Grab a scoop at “À La Mode” and then … we're there

138

Appendix 8: Data set dialogue preceding FF #1

Turn Appraiser Data

NV1 [Evan, alone.]

1. Evan (i) I’m not doing this. (ii) I’m done. 2. Connor (i) You can’t just stop now.

NV2 [And Connor is there.]

3. Evan (i) I don’t think (ii) I can live with this anymore. 4. Connor (i) What about my parents? 5. Evan (i) No more emails. 6. Connor (i) How can you do this to them? 7. Evan (i) No more Connor Project. (ii) No more orchard. 8. Connor (i) After everything they’ve done for you? (ii) They need you. 9. Evan (i) Need me for what? (ii) To keep lying to them? 10. Connor (i) That lie is the only thing that’s keeping them together. 11. Evan (i) That’s not true. 12. Connor (i) Oh, really? (ii) They seemed like a pretty happy family (iii) when you met them? 13. Evan (i) I don’t want to lie anymore. 14. Connor (i) And what about Zoe? 15. Evan (i) Zoe said, (ii) she just … (iii) she wants me. 16. Connor (i) Right. 17. Evan (i) She likes me for who I am. 18. Connor (i) Except you didn’t happen to mention (ii) that everything you’ve told her, (iii) it’s all been one big fucking lie, (iv) did you?

NV3 [Evan says nothing.]

19. Connor (i) Oh. (ii) You left that part out. 20. Evan (i) So then, (ii) what if … (iii) what if I did tell her the truth? 21. Connor (i) She’ll hate you. 22. Evan (i) Maybe she would understand. (ii) Maybe everyone would understand. 23. Connor (i) Everyone will hate you. 139

24. Evan (i) Not if I can just, (ii) if I can explain it, (iii) you know? 25. Connor (i) You’ll go right back to where you started. (ii) No friends. 26. Evan (i) I want to be done == with this. 27. Connor == (i) Nobody. (ii) Nothing. (iii) Alone. 28. Evan (i) I’m ready to be done with it. 29. Connor (i) If you really believe that, (ii) then why are you standing here, (iii) talking to yourself? (iv) Again?

NV4 [Pause.]

30. Connor (i) You think (ii) you’re going to turn around all of a sudden (iii) and start telling everyone the truth? (iv) You can’t even tell yourself the truth. 31. Evan (i) What are you talking about? 32. Connor (i) How did you break your arm?

NV5 [A pall comes over Evan.]

33. Connor (i) How did you break your arm, Evan? 34. Evan (i) I fell. 35. Connor (i) Really? (ii) Is that what happened? 36. Evan [less and less confident] (i) I was, (ii) I lost my grip (iii) and I … (iv) I fell. 37. Connor (i) Did you fall? (ii) Or did you let go?

NV6 [Silence.]

140

Appendix 9: Close reading dialogue preceding WTAW

Turn Appraiser Data

1. Alana (i) How was your summer?

NV2 [Evan looks around, not sure if she’s speaking to someone else.]

2. Evan (i) My … [Affect: -sec]? 3. Alana (i) Mine was productive [Appreciation: +val]. (ii) I did three internships and ninety hours of community service [Affect: +sat]. (iii) I know [Proclaim: Concur]: (iv) wow [Appreciation: +val]. 4. Evan (i) Yeah [Proclaim: concur]. (ii) That’s, (iii) wow [Appreciation: +val] [Proclaim: Concur]. == (iv) That’s really [Augmenting] impressive [Appreciation: +val] [Proclaim: concur]. 5. Alana (i) Even though [Disclaim: counter] I was so busy, (ii) I still [Augmenting] made some great friends [Affect: +sat]. (iii) Or, (iv) well, (v) acquaintances [Affect: +sat], more like [Mitigation]. 6. Evan [gathering his courage] (i) Do you want to maybe [Entertain] [Affect: -sec] … [Affect: -sec] (ii) I don’t know (iii) what you’re, um … [Affect: -sec] [Augmenting] (iv) do you want to sign my cast? 7. Alana (i) Oh my God [HTC]. (ii) What happened to your arm? 8. Evan (i) Oh [Affect: -sec]. (ii) Well. (iii) I broke it. (iv) I was climbing a tree … 9. Alana [Not listening at all]: (i) Oh really? [HTC] (ii) My grandma broke her hip getting into the bathtub in July. (iii) That was the beginning of the end, the doctors said. (iv) Because then she died.

NV3 [Evan has no idea how to respond to this. Alana plasters on a glowing smile.]

10. Alana (i) Happy first day [affect: +hap].

141

NV4 [Alana exits as Jared Kleinman approaches Evan with the kind of practiced swagger only the deeply Insecure can truly pull off.]

11. Jared (i) Is it weird [Appreciation: -reac] (ii) to be the first person in history [Augmenting] (iii) to break their arm from jerking off too much (iv) or do you consider that an honor [Appreciation: +reac] [Sarc. Judgement: +cap]? 12. Evan (i) Wait. (ii) What? (iii) I didn’t [Disclaim: deny] [Affect: -sec], (iv) I wasn’t [Disclaim: deny] … [Affect: -sec] [Augmenting] doing that. 13. Jared (i) Paint me the picture: (ii) you’re in your bedroom, (iii) you’ve got Zoe Murphy’s Instagram up on your weird, off-brand [Judgement: -norm] cell phone … [Judgement: -norm] 14. Evan (i) That’s not [Disclaim: deny] (ii) what happened. (iii) Obviously [Judgement: -ver]. (iv) I was, (v) um [Affect: -sec], (vi) well (vii) I was climbing a tree (viii) and I fell. 15. Jared (i) You fell out of a tree [Judgement: -norm]? (ii) What are you, like, an acorn [Judgement: -norm]? 16. Evan (i) Well, (ii) I was, (iii) I don’t know (iv) if you know this [Affect: +sat] [Augmenting], (v) but I worked this summer as an apprentice park ranger at Ellison State Park [Affect: +sat]. (vi) I’m sort of [Mitigation] a tree expert [Judgement: +cap] now [Affect: +sat]. (vii) Not to brag [Judgement: -prop], but … [Affect: +sat]

NV5 [Jared says nothing]

17. Evan (i) Anyway [Affect: -sec] [Mitigation]. (ii) I tried (iii) to climb this forty-foot-tall [Augmenting] oak tree. 18. Jared (i) And then you fell … ? [Judgement: -norm] 19. Evan (i) Well, (ii) except it’s a funny [Appreciation: +val] story, (iii) because there was this solid [Augmenting] ten minutes after I fell, (iv) when I just lay there on the ground (v) waiting for someone (vi) to come get me. (vii) Any second now, I kept saying to myself [Affect: des]. (viii) Any second now, here they come [Affect: des] [Augmenting]. 20. Jared (i) Did they? 21. Evan (i) No [Disclaim: deny]. (ii) Nobody came [Disclaim: deny] [Augmenting]. (iii) That’s the [Affect: -sec], (iv) that’s what’s funny [Appreciation: +val] [Affect: - sec]. 142

22. Jared (i) Jesus Christ … [Judgement: -norm] 23. Evan (i) How was [Affect: -sec], (ii) what did you do for the [Affect: -sec] [Augmenting], (iii) you had a good [Appreciation: +reac] summer? 24. Jared (i) Well [Affect: +sat], (ii) my bunk dominated [Affect: +sat] in capture the flag (iii) and I got to second-base-below-the-bra [Affect: +sat] with this girl from Israel (iv) who’s going to like be in the army [Appreciation: +reac] … (v) so, yeah, hopefully that answers your question [Affect: +sat].

NV6 [Jared turns to go.]

25. Evan (i) Do you want to sign my cast? 26. Jared (i) Why are you asking me [Judgement: -cap]? 27. Evan (i) Well, (ii) just [Mitigation] [Affect: -sec], (iii) I thought [Entertain] [Affect: - sec], (iv) because we’re friends [Affect: -sec]. 28. Jared (i) We’re family friends [Judgement: -cap] [Disclaim: counter] [Augmenting]. (ii) That’s like a whole [Augmenting] different thing [Judgement: -cap] (iii) and you know it [Judgement: -cap].

NV7 [He punches Evan in the arm.]

NV8 [Connor crosses]

31. Jared (i) Hey, Connor. (ii) I’m loving [Enrichment] the new hair length [Sarc. Appreciation: +reac]. (iii) Very school shooter chic [Sarc. Appreciation: +reac].

NV9 [Connor stops, casts a withering glance at him.]

32. Jared (i) I was kidding [Affect: -sec]. (ii) It was a joke [Affect: -sec] [Augmenting]. 33. Connor [Deadpan] (i) Yeah [Sarc. Proclaim: Concur], (ii) no [Disclaim: deny], (iii) it was funny [Sarc. Appreciation: +reac] [Sarc. Proclaim: Concur]. (iv) I’m laughing [Sarc. Appreciation: +reac] [Augmenting]. (v) Can’t [Disclaim: deny] you tell? [Judgement: -cap] (vi) Am I not [Disclaim: deny] laughing hard enough for you? [Judgement: -cap] [Sarc. Appreciation: +reac]

143

34. Jared [laughs nervously, bravado gone] (i) You’re such [Focus] a freak [Judgement: -norm].

NV10 [Jared, laughing, nervously exits. Connor turns to Evan. Evan laughs, uncomfortable.]

35. Connor (i) What the fuck [Augmenting] are you laughing at [Judgement: -prop]? 36. Evan (i) What [Affect: -sec]? 37. Connor (i) Stop fucking [Augmenting] laughing at me [Judgement: -prop]. 38. Evan (i) I’m not [Disclaim: deny] [Affect: -sec]. 39. Connor (i) You think [Proclaim: pronounce] (ii) I’m a freak [Judgement: -norm] [Judgement: -prop]? 40. Evan (i) No [Disclaim: deny]. (ii) I don’t - [Disclaim: deny] [Affect: -sec] 41. Connor (i) I’m not [Disclaim: deny] a freak [Judgement: neg. -norm]. 42. Evan (i) But [Disclaim: counter] I wasn’t - [Disclaim: deny] [Affect: -sec] 43. Connor (i) You’re the fucking [Augmenting] freak [Judgement: -norm] [Disclaim: counter].

NV11 [Connor shoves him to the ground as he storms away. Slowly, Evan stands.]

144

Appendix 10: Close reading dialogue preceding WTAW #1

Turn Appraiser Data

NV1 [Heidi, in her nurse’s scrubs, on her cell phone, a bit harried, an eye on the clock. Evan, at school, on his phone.]

NV2 [Evan is used to this, almost expecting it.]

2. Evan (i) It’s fine [Affect: -hap]. 3. Heidi (i) It’s just [Focus], (ii) they announced [Attributive: acknowledge] more budget cuts this morning [Affect: -hap], (iii) so anything I can do to show (iv) that I’m, you know [Affect: -sec] [Entertain], a team player [Judgement: +prop] [Affect: -hap] … [Affect: -sec] 4. Evan (i) It’s fine [Affect: -hap]. (ii) I’ll take the bus. 5. Heidi [Relieved] (i) Perfect. (ii) That’s perfect [Augmenting] [Affect: -sec]. (iii) Oh (iv) and I’m going straight from here to class, (v) so I won’t be home until late [Affect: -hap], (vi) so please [Focus] eat something. (vii) We’ve got those Trader Joe’s dumplings [Affect: +hap] in the freezer … [Affect: -sec] 6. Evan (i) Maybe [Entertain] [Affect: -hap]. 7. Heidi (i) Did you write one of those letters yet? (ii) Dr. Sherman’s expecting [Proclaim: concur] you to have one. (iii) “Dear Evan Hansen. This is going to be a good day and here’s why”? 8. Evan [Lying] (i) Yeah [Proclaim: concur], (ii) no [Disclaim: counter], (iii) I already [Disclaim: counter] finished it. (iv) I’m in the computer lab right now, (v) printing it out. 9. Heidi (i) I hope [Affect: des] (ii) it was a good [Appreciation: +reac] day, sweetheart [Affect: +hap]. 10. Evan (i) It was … [Proclaim: concur] (ii) yeah [Augmenting], (iii) it was really [Augmenting] great [Appreciation: +reac] [Proclaim: concur].

145

11. Heidi (i) Great [Appreciation: +reac]. (ii) That’s great [Appreciation: +reac] [Augmenting] [Affect: -sec]. (iii) I hope [Affect: des] (iv) it’s the beginning of a great [Appreciation: +reac] year. (v) I think [Entertain] (vi) we both could use one of those, huh [Entertain]? (vii) Shit [Affect: -hap]. (viii) I have to run. (ix) Bye. (x) I love [Affect: +hap] you.

NV3 [Heidi hangs up and goes.]

12. Evan (i) Bye [Affect: -hap].

NV4 [A long moment alone. Evan opens his laptop and begins to compose his letter.]

13. Evan (i) Dear Evan Hansen:

(vi) Oh (vii) I know [Sarc. Affect: +hap]. (viii) Because there’s Zoe [Appreciation: +val]. (ix) And all my hope [Augmenting] is pinned on Zoe [Appreciation: +val] [Judgement: -cap] [Augmenting]. (x) Who I don’t [Disclaim: deny] even [Disclaim: counter] know (xi) and who doesn’t [Disclaim: deny] know me [Affect: -hap] [Judgement: -cap] [Augmenting]. (xii) But maybe [Entertain] [Affect: -sec] if I did. (xiii) Maybe [Entertain] [Affect: - sec] if I could just [Focus] talk to her [Affect: des], (xiv) then maybe [Entertain] [Affect: -sec] … (xv) maybe [Entertain] [Affect: -sec] nothing [Augmenting] would be different [Appreciation: neg.+reac] at all [Augmenting] [Judgement: -cap].

(xvi) I wish [Affect: des] (xvii) that everything [Augmenting] was different [Appreciation: +reac] [Affect: -hap]. (xviii) I wish [Affect: des] (xix) that I was a part of … [Augmenting] something [Augmenting] [Affect: -hap]. (xx) I wish [Affect: des] [Augmenting] (xxi) that anything [Augmenting] I said … [Augmenting] mattered to anyone [Augmenting] [Affect: -hap]. (xxii) I mean 146

[Proclaim: Pronounce], (xxiii) face it [Judgement: -cap]: (xxiv) would anybody [Augmenting] even [Disclaim: counter] notice (xxv) if I disappeared tomorrow [Affect: -hap]?

(xxvi) Sincerely, your best [Judgement: +ten] and most [Augmenting] dearest [Judgement: +ten] [Augmenting] friend, Me [Affect: -hap].

147

Appendix 11: Close reading dialogue preceding WTAW #2

Turn Appraiser Data

[Evan and Jared, online]

1. Jared (i) A letter to yourself [Judgement: -norm]? (ii) What the crap [Augmenting] does that even mean [Augmenting] [Judgement: -norm]? (iii) It’s like, some kind of [Mitigation] sex thing? 2. Evan (i) No [Disclaim: deny], (ii) it’s not [Disclaim: deny] a sex thing. (iii) It’s … [Affect: -sec] (iv) it was an assignment [Disclaim: counter]. 3. Jared (i) Why are you talking to me about this [Judgement: -cap]? 4. Evan (i) I didn’t [Disclaim: deny] know who else to talk to [Affect: -hap]. (ii) You’re my only … [Affect: -sec] family friend [Affect: -hap]. 5. Jared [Too pathetic to even engage] (i) Oh my God [Judgement: -norm]. 6. Evan (i) I don’t know (ii) what to do [Affect: -sec]. (iii) He stole [Judgement: -prop] the letter from me three days ago, (iv) and then he just [Focus] [Affect: -sec], (v) he hasn’t [Disclaim: deny] been at school since [Affect: -sec]. 7. Jared (i) That does not [Disclaim: deny] bode well [Affect: -hap] for you. 8. Evan (i) What is he going to do with it [Affect: -sec]? 9. Jared (i) Who knows [Judgement: -norm]? (ii) Connor Murphy is batshit [Judgement: -norm] [Augmenting] out of his mind [Augmenting]. (iii) Do you remember (iv) when he threw a printer at Mrs. G in second grade, (v) because he didn’t get to be line leader that day [Judgement: -norm]? 10. Evan (i) Do you think (ii) he’s going to show the letter to other people [Affect: - sec]? 11. Jared [Obviously] (i) He’s going to ruin your life [Augmenting] with it [Proclaim: Concur]. (ii) For sure [Augmenting]. (iii) I mean [Proclaim: pronounce], (iv) I would [Entertain] [Augmenting].

148

Appendix 12: Close reading dialogue preceding FF

Turn Appraiser Data

NV1 [Dinner at the Murphy’s. Prominently, in the center of the table, a bowl of fresh apples. Evan is afraid to move or make a sound. Larry serves himself seconds.]

NV2 [Evan nods.]

5. Cynthia (i) We used to go skiing together [Affect: +hap], our families [Augmenting]. 6. Evan [nods] (i) Connor loved [Affect: +hap] skiing [Proclaim: concur]. 7. Zoe (i) Connor hated [Affect: -hap] skiing [Judgement: -ver] [Disclaim: deny]. 8. Evan (i) Well, right [Proclaim: concur]. (ii) That’s what I meant [Proclaim: concur]. (iii) Connor loved [Affect: +hap] … [Affect: -sec] (iv) talking about how much he hated [Affect: -hap] skiing.

NV3 [Zoe just stares at him.]

149

13. Zoe (i) We looked through his emails. (ii) There aren’t any from you [Judgement: -ver]. 14. Evan (i) Well, (ii) no [Disclaim: deny], (iii) of course [Augmenting], (iv) yeah [Affect: - sec], (v) I mean [Affect: -sec], (vi) that’s because he had a different account. (vii) A secret account. (viii) I should have said that before [Judgement: -cap]. (ix) That was probably [Entertain] very confusing [Judgement: -cap]. 15. Zoe (i) Why was it secret [Judgement: -norm]? 16. Evan (i) Just so no one else could [Affect: -sec], (ii) it was more private, (iii) I guess [Affect: -sec], that way. 17. Cynthia [To Larry] (i) He knew (ii) you read his emails [Judgement: -prop]. 18. Larry (i) Somebody [Augmenting] had to be the bad [Judgement: -prop] guy.

NV4 [A tense pause.]

19. Zoe [To Evan] (i) The weird thing is [Judgement: -ver], (ii) the only [Augmenting] time I ever [Augmenting] saw you and my brother together was (iii) when he shoved [Judgement: -ten] you at school last week [Judgement: -ver]. 20. Cynthia (i) He shoved you [Judgement: -cap]? 21. Evan (i) I um [Affect: -sec] … (ii) I tripped [Mitigation]. 22. Zoe (i) I was there [Judgement: -ver]. (ii) I saw the whole thing [Judgement: -ver]. (iii) He pushed [Judgement: -ten] you, (iv) hard [Augmenting] [Judgement: - ver] [Augmenting]. 23. Evan (i) Oh. (ii) I remember now [Judgement: -cap] [Proclaim: concur]. (iii) That was a misunderstanding [Mitigation]. (iv) Because, the thing was, (v) he didn’t [Disclaim: deny] want us to talk at school, (vi) and I tried to talk to him at school [Judgement: -cap]. (vii) It wasn’t [Disclaim: deny] that big a thing [Mitigation]. (viii) It was my fault [Judgement: -cap] [Mitigation]. 24. Zoe (i) Why didn’t [Disclaim: deny] he want you to talk to him at school [Judgement: -ver]? 25. Evan (i) He didn’t [Disclaim: deny] really [Mitigation] want people to know we were friends [Affect: +hap]. (ii) I guess [Entertain] [Affect: -sec] he was embarrassed [Judgement: -ten]. (iii) A little [Mitigation]. 26. Cynthia (i) Why would he be embarrassed [Judgement: -ten] [Affect: -sec]?

150

27. Evan (i) Um [Affect: -sec]. (ii) I guess [Entertain] [Affect: -sec] (iii) because he thought [Attributive: acknowledge] I was sort of [Mitigation] [Affect: -sec], (iv) you know [Entertain] [Affect: -sec] … 28. Zoe (i) A nerd [Judgement: -norm]? 29. Larry (i) Zoe [Judgement: -prop]. 30. Zoe (i) Isn’t [Disclaim: deny] that what you meant [Affect: -sec] [Sarc. Judgement: +prop] [Augmenting]? 31. Evan (i) Loser [Judgement: -norm], I was going to say, actually [Disclaim: counter]. (ii) But [Disclaim: counter]. (iii) Nerd [Judgement: -norm] works, too [Proclaim: concur] [Augmenting]. 32. Cynthia (i) That wasn’t [Disclaim: deny] very [Augmenting] nice [Judgement: neg. +prop] [Mitigation]. 33. Zoe (i) Well, Connor wasn’t [Disclaim: deny] very [Augmenting] nice [Judgement: neg. +prop] [Augmenting], (ii) so that makes sense [Judgement: -prop].

NV5 [Cynthia takes a breath, struggles to maintain her pose.]

NV6 [Cynthia’s distress grows more and more difficult for Evan to watch.]

38. Cynthia (i) You refuse to remember any [Augmenting] of the good [Appreciation: +val] things [Judgement: -ten]. == (ii) You refuse to see anything [Augmenting] positive [Appreciation: +val] [Judgement: -ten] [Augmenting]. 39. Zoe == (i) Because there were no [Disclaim: deny] good [Appreciation: neg. +val] things [Judgement: -cap]. (ii) What were the good [Appreciation: +val] things [Judgement: -cap] [Augmenting]? 40. Cynthia (i) I don’t [Disclaim: deny] want to have this conversation [Mitigation] in front of our guest [Affect: -hap].

151

NV7 [Before even thinking, Evan finds the words tumbling out.]

43. Evan (i) I remember a lot of [Augmenting] good [Appreciation: +val] things about Connor [Judgement: +cap].

NV8 [All eyes turn to him at once, as he realizes what he’s done.]

44. Zoe (i) Like what [Judgement: -ver]? 45. Evan (i) Never mind [Affect: -sec]. (ii) I shouldn’t have [Judgement: -cap], (iii) I’m sorry [Affect: -sec] [Augmenting], (iv) never mind [Affect: -sec] [Augmenting]. 46. Cynthia (i) No [Disclaim: deny], Evan [Augmenting]. (ii) You were saying something [Judgement: +cap]. 47. Evan (i) It doesn’t [Disclaim: deny] matter [Mitigation]. (ii) Really [Augmenting] [Affect: -sec]. 48. Cynthia (i) We want to hear (ii) what you have to say [Judgement: +cap]. (iii) Please [Augmenting].

NV9 [Beat.]

NV10 [Evan keeps talking, unsure if he’s connecting or not.]

(vi) That’s something good [Appreciation: +val] (vii) that I remember about Connor. (viii) That’s what I keep thinking about [Affect: +hap] [Augmenting]. (ix) That day [Augmenting].

NV11 [His eyes land on the bowl of apples in front of him.]

(x) At the apples, um … [Affect: -sec] (xi) the apples … [Affect: -sec] place.

NV12 [Beat.]

152

NV13 [Evan looks at Cynthia, sees the hope in her eyes. Even Zoe has turned silent.]

51. Evan (i) Yes [Proclaim: concur]. (ii) He did [Proclaim: concur] [Augmenting]. 52. Cynthia (i) When [Affect: +hap]? 53. Evan (i) Once. (ii) It was just [Mitigation] that once [Augmenting]. (iii) But [Disclaim: counter]. (iv) He said the apples there were the best [Appreciation: +reac]. 54. Larry (i) I thought [Entertain] that place closed. (ii) Years ago [Augmenting]. 55. Evan (i) Exactly [Proclaim: concur]. (ii) Which is why we were so bummed [Affect: - hap] (iii) when we got there, (iv) because it was completely [Augmenting] [Affect: -sec], (v) it’s totally [Augmenting] closed down now [Affect: -hap]. 56. Cynthia (i) We used to go to the orchard all the time [Affect: +hap]. (ii) We’d do picnics out there [Affect: +hap]. (iii) Remember that, Zoe [Affect: +hap] [Entertain]? 57. Zoe (i) Yeah [Proclaim: concur]. (ii) I do [Proclaim: concur] [Augmenting]. 58. Cynthia [To Larry] (i) You and Connor had that little toy plane you would fly [Affect: +hap]. (ii) Until you flew it into the creek [Affect: +hap]. 59. Larry [Can’t help but smile] (i) That was an emergency landing [Affect: +hap]. 60. Cynthia [To Evan] (i) I can’t believe (ii) he took you there [Affect: +hap]. (iii) I bet [Entertain] (iv) that was fun [Appreciation: +val]. (v) I bet [Entertain] you two [Affect: +hap], (vi) I bet [Entertain] you had fun [Appreciation: +val] [Affect: +hap] [Augmenting]. 61. Evan (i) We did [Proclaim: concur]. (ii) The whole day was just [Focus] … [Affect: +hap]

153

Appendix 13: Close reading dialogue preceding FF #1

Turn Appraiser Data

NV1 [Evan, alone.]

1. Evan (i) I’m not [Disclaim: deny] doing this [Affect: -hap]. (ii) I’m done [Affect: -hap] [Augmenting]. 2. Connor (i) You can’t [Disclaim: deny] just [Focus] stop now [Judgement: -prop].

NV2 [And Connor is there.]

3. Evan (i) I don’t [Disclaim: deny] think [Entertain] (ii) I can live with this anymore [Affect: -sec]. 4. Connor (i) What about my parents [Judgement: -prop]? 5. Evan (i) No [Disclaim: deny] more emails [Affect: neg +hap]. 6. Connor (i) How can you do this to them [Judgement: -prop]? 7. Evan (i) No [Disclaim: deny] more Connor Project [Affect: neg. +hap]. (ii) No [Disclaim: deny] more orchard [Affect: neg. +hap] [Augmenting]. 8. Connor (i) After everything they’ve done for you? [Judgement: -prop] (ii) They need you [Judgement: -prop]. 9. Evan (i) Need me for what [Judgement: -cap] [Disclaim: counter]? (ii) To keep lying [Judgement: -ver] to them? 10. Connor (i) That lie [Judgement: +ver] is the only [Augmenting] thing that’s keeping them together. 11. Evan (i) That’s not [Disclaim: deny] true [Judgement: neg. +ver]. 12. Connor (i) Oh, really? [Sarc. Entertain] (ii) They seemed like a pretty [Mitigation] happy [Affect: +hap] family (iii) when you met them [Sarc. Entertain]? 13. Evan (i) I don’t [Disclaim: deny] want to lie [Judgement: neg. -ver] anymore [Affect: -hap]. 14. Connor (i) And what about Zoe [Judgement: -prop]? 15. Evan (i) Zoe said [Attributive: acknowledge], (ii) she just [Focus] … [Affect: -sec] (iii) she wants me [Affect: +hap] [Disclaim: counter]. 16. Connor (i) Right [Sarc. Proclaim: concur]. 17. Evan (i) She likes [Affect: +hap] me for who I am [Affect: +hap] [Disclaim: counter].

154

NV3 [Evan says nothing.]

19. Connor (i) Oh. (ii) You left that part [Mitigation] out [Sarc. Judgement: +ver]. 20. Evan (i) So then, (ii) what if … [Affect: -sec] (iii) what if I did tell her the truth [Judgement: +ver] [Affect: -sec]? 21. Connor (i) She’ll hate [Affect: -hap] you. 22. Evan (i) Maybe [Entertain] [Affect: -sec] she would understand. (ii) Maybe [Entertain] [Affect: -sec] everyone [Augmenting] would understand. 23. Connor (i) Everyone [Augmenting] will hate [Affect: -hap] you. 24. Evan (i) Not [Disclaim: deny] if I can just [Focus] [Affect: -sec], (ii) if I can explain it [Disclaim: counter], (iii) you know [Affect: -sec] [Entertain]? 25. Connor (i) You’ll go right back to where you started [Judgement: -cap]. (ii) No [Disclaim: deny] friends [Affect: neg. +hap] [Augmenting]. 26. Evan (i) I want [Affect: des] to be done == with this [Affect: -hap]. 27. Connor == (i) Nobody [Augmenting]. (ii) Nothing [Augmenting]. (iii) Alone [Augmenting] [Augmenting]. 28. Evan (i) I’m ready to be done with it [Affect: -hap]. 29. Connor (i) If you really [Focus] believe that, (ii) then why are you standing here, (iii) talking to yourself [Judgement: -ver]? (iv) Again [Augmenting]?

NV4 [Pause.]

NV5 [A pall comes over Evan.]

33. Connor (i) How did you break your arm [Judgement: -ver], Evan [Augmenting]?

155

34. Evan (i) I fell. 35. Connor (i) Really? (ii) Is that what happened? [Sarc. Judgement: +ver] 36. Evan [less and less confident] (i) I was [Affect: -sec], (ii) I lost my grip (iii) and I … [Affect: -sec] (iv) I fell. 37. Connor (i) Did you fall [Sarc. Judgement: +ver]? (ii) Or did you let go [Sarc. Judgement: +ver]?

NV6 [Silence.]

156

Appendix 14: Legend of the instances of Appraisal in the data sets

Legend

Blue Evan White Heidi Grey Alana Orange Cynthia Green Jared Brown Larry Purple Connor Yellow Zoe

Pr Prosody P1 Prosody spread over these utterances HTC Hard to Classify

Attitude + ‘positive Attitude’ - ‘negative Attitude’ Neg. ‘grammatically negated Attitude’ Sarc. ‘Sarcastic Attitude’

Engagement Sarc. ‘Sarcastic Engagement’

157

Appendix 15: Results of the dialogue preceding WTAW

Appraising item Turn String Appraiser Appraised Attitude Att Engagement Graduation 1 My ...? 2 i Evan Affect: -sec Ev 2 Productive 3 i Alana Alana's summer Appreciation: +val Ins I did three internships and ninety hours 3 3 ii Alana Affect: +sat Ev of community service 4 I know: wow. 3 iii-iv Alana Alana's summer Appreciation: +val Ins Proclaim: concur 5 Yeah 4 i Evan Proclaim: concur 6 That's, wow. 4 ii-iii Evan Alana's summer Appreciation: +val Ins Proclaim: concur 7 That's really impressive. 4 iv Evan Alana's summer Appreciation: +val Ins Proclaim: concur Augmenting P1 8 Even though I was so busy, … 5 i Alana Disclaim: counter P1 9 …, I still made some great friends. 5 ii Alana Affect: +sat Ev Augmenting P1 10 Or, well, acquaintances, more like. 5 iii-v Alana Affect: +sat Ev Mitigation Do you want to maybe … I don't know Affect: -sec Ev 11 what you're, um … do you want to sign 6 i-iv Evan Affect: -sec Ev Entertain Augmenting my cast? Affect: -sec Ev 12 Oh my God. 7 i Alana HTC 13 Oh 8 i Evan Affect: -sec Ev 14 Oh really? 9 i Alana HTC 15 Happy first day. 10 i Alana Affect: +hap Ev Is it weird to be the first person in Appreciation: -reac Ins history to break their arm from jerking Appreciation: +reac Ins P2 16 11 i-iv Jared Evan Augmenting off too much or do you consider that an Sarc. Judgement: +cap Ev honor? Affect: -sec Ev Disclaim: deny 17 I didn't, I wasn't … doing that. 12 iii-iv Evan Augmenting Affect: -sec Ev Disclaim: deny Paint me the picture: […] weird off- Evan Judgement: -norm Ev P2 18 13 i-iii Jared brand cell phone. Evan Judgement: -norm Ev 19 That's not what happened. 14 i-ii Evan Disclaim: deny 20 Obviously. 14 iii Evan Jared Judgement: -ver Ev I was, um, well I was climbing a tree and 21 14 iv-viii Evan Affect: -sec Ev I fell.

158

Appraising item Turn String Appraiser Appraised Attitude Att Engagement Graduation P2 22 You fell out of a tree? 15 i Jared Evan Judgement: -norm Ev P2 23 What are you, like, an acorn? 15 ii Jared Evan Judgement: -norm Ev 24 I don't know if you know this […] 16 iv Evan Affect: +sat Ev Augmenting I worked this summer as an apprentice 25 16 v Evan Affect: +sat Ev park ranger at Ellison State Park. Affect: +sat Ins Mitigation 26 I'm sort of a tree expert now. 16 vi Evan Himself (Evan) Judgement: +cap Ins Himself (Evan) Judgement: -prop Ins 27 Not to brag, but … 16 vii Evan Affect: +sat Ev 28 Anyway. 17 i Evan Affect: -sec Ev Mitigation 29 Forty-foot-tall oak tree. 17 iii Evan Augmenting 30 And then you fell … ? 18 i Jared Evan Judgement: -norm Ev 31 A funny story. 19 ii Evan Story Appreciation: +val Ins 32 This solid ten minutes 19 iii Evan Augmenting 33 Any second now, I kept saying to myself. 19 vii Evan Affect: des 34 Any second now, here they come. 19 viii Evan Affect: des Augmenting 35 No. 21 i Evan Disclaim: deny 36 Nobody came. 21 ii Evan Disclaim: deny Augmenting Appreciation: +val Ins 37 That's the, that's what's funny. 21 iii Evan Story Affect: -sec Ev Affect: -sec Ev 38 Jesus Christ … 22 i Jared Evan Judgement: -norm Ev Appreciation: +reac Ins How was, what did you do for the, you 39 23 i-iii Evan Summer Affect: -sec Ev Augmenting had a good summer? Affect: -sec Ev Well, my bunk dominated in capture the Affect: +sat Ins P3 40 24 ii Jared flag. Affect: +sat Ev I got to second-base-below-the-bra with This girl from Israel Appreciation: +reac Ins P3 41 24 iii-iv Jared this girl from Israel who's going to like be Affect: +sat Ev P3 42 Hopefully that answers your question. 24 v Jared Affect: +sat Ev 43 Why are you asking me? 26 i Jared Evan Judgement: -cap Ev

159

Appraising item Turn String Appraiser Appraised Attitude Att Engagement Graduation Affect: -sec Ev Well, just, I thought, because we're 44 27 i-iv Evan Affect: -sec Ev Entertain Mitigation friends. Affect: -sec Ev 45 We're family friends. 28 i Jared Evan Judgement: -cap Ev Disclaim: counter Augmenting 46 That's like a whole different thing. 28 ii Jared Evan Judgement: -cap Ev Augmenting 47 and you know it. 28 iii Jared Evan Judgement: -cap Ev 48 I was nice to you. 29 iv Jared Himself (Jared) Judgement: +prop Ins 49 I will. 30 i Evan Affect: -sec Ev Proclaim: concur P4 50 I'm loving the new hair length 31 ii Jared Connor's hair Sarc. Appreciation: +reac Ev Enrichment P4 51 Very school shooter chic 31 iii Jared Connor's hair Sarc. Appreciation: +reac Ev 52 I was kidding. 32 i Jared Affect: -sec Ev 53 It was a joke. 32 ii Jared Affect: -sec Ev Augmenting 54 Yeah 33 i Connor Sarc. Proclaim: concur 55 No 33 ii Connor Disclaim: deny 56 It was funny. 33 iii Connor Jared's joke Sarc. Appreciation: +reac Ins Sarc. Proclaim: concur 57 I'm laughing. 33 iv Connor Jared's joke Sarc. Appreciation: +reac Ev Augmenting 58 Can't you tell? 33 v Connor Jared Judgement: -cap Ev Disclaim: deny Jared Judgement: -cap Ev 59 Am I not laughing hard enough for you? 33 vi Connor Disclaim: deny Jared Sarc. Appreciation: +reac Ev 60 You're such a freak. 34 i Jared Connor Judgement: -norm Ins Focus 61 What the fuck are you laughing at? 35 i Connor Evan Judgement: -prop Ins Augmenting 62 What? 36 i Evan Affect: -sec Ev 63 Stop fucking laughing at me. 37 i Connor Evan Judgement: -prop Ins Augmenting 64 I'm not. 38 i Evan Affect: -sec Ev Disclaim: deny Himself (Connor) Judgement: -norm Ins 65 You think I'm a freak? 39 i-ii Connor Proclaim: pronounce Evan Judgement: -prop Ins Disclaim: deny 66 No, I don't -. 40 i-ii Evan Affect: -sec Ev Disclaim: deny 67 I'm not a freak. 41 i Connor Himself (Connor) Judgement: neg. -norm Ins Disclaim: deny Disclaim: deny 68 But I wasn't -. 42 i Evan Affect: -sec Ev Disclaim: counter 69 You're the fucking freak. 43 i Connor Evan Judgement: -norm Ins Disclaim: counter Augmenting

160

Appendix 16: Results of the dialogue preceding WTAW #

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation Affect: -hap Ins 1 Shit, honey. 1 i Heidi Augmenting Affect: +hap Ins I know I was supposed to pick you up for 2 1 ii-iii Heidi Herself (Heidi) Judgement: -ten Ev Proclaim: concur your appointment. 3 I'm stuck at work. 1 iv Heidi Affect: -hap Ev Erica called in with the flu and I'm the 4 only other nurse's aide on today, so I 1 v-vi Heidi Affect: -sec Ev volunteered to pick up her shift … 5 It's fine. 2 i Evan Affect: -hap Ev It's just, they announced more budget P1 6 3 i-ii Heidi Affect: -hap Ev Attributive: acknowledge Focus cuts this morning, […] Affect: -sec Ev Herself (Heidi) Judgement: +prop Ins P1 7 […] that I'm, you know, a team player … 3 iv Heidi Entertain Affect: -hap Ev Affect: -sec Ev 8 It's fine. 4 i Evan Affect: -hap Ev 9 Perfect. That's perfect. 5 i-ii Heidi Affect: -sec Ev Augmenting 10 […], so I won't be home until late, […] 5 v-vi Heidi Affect: -hap Ev 11 […] so please eat something. 5 vi Heidi Focus We've got those Trader Joe's dumplings Affect: +hap Ev 12 5 vii Heidi in the freezer … Affect: -sec Ev 13 Maybe. 6 i Evan Affect: -hap Ev Entertain 14 Dr. Sherman's expecting you to have one. 7 ii Heidi Proclaim: concur Proclaim: concur 15 Yeah, no, I already finished it. 8 i-iii Evan Disclaim: counter Disclaim: counter Affect: des Ins 16 I hope it was a good day, sweetheart. 9 i-ii Heidi Day Appreciation: +reac Ins Affect: +hap Ins Proclaim: concur Augmenting 17 It was … yeah, it was really great. 10 i-iii Evan First day Appreciation: +reac Ins Proclaim: concur Augmenting 161

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation Evan's answer Appreciation: +reac Ins 18 Great. That's great. 11 i-ii Heidi Evan's answer Appreciation: +reac Ins Augmenting Affect: -sec Ev Affect: des Ins 19 I hope it's the beginning of a great year. 11 iii-iv Heidi Year Appreciation: +reac Ins I think we could both use one of those, Entertain 20 11 v-vi Heidi huh? Entertain 21 Shit. 11 vii Heidi Affect: -hap Ins 22 I love you. 11 x Heidi Affect: +hap Ins 23 Bye. 12 i Evan Affect: -hap Ev Day Appreciation: neg. +reac Ins 24 This wasn't an amazing day after all. 13 iii Evan Disclaim: deny Augmenting Affect: -hap Ev Week Appreciation: neg. +reac Ins This isn't going to be an amazing week 25 13 iv Evan Year Appreciation: neg. +reac Ins Disclaim: deny Augmenting or an amazing year. Affect: -hap Ev 26 Because … why would it be? 13 v Evan Affect: -hap Ev 27 Oh, I know. 13 vi-vii Evan Sarc. Affect: +hap Ev 28 Because there's Zoe. 13 viii Evan Zoe Appreciation: +val Ev Zoe Appreciation: +val Ev Augmenting 29 And all my hope is pinned on Zoe. 13 ix Evan Himself (Evan) Judgement: -cap Ev Augmenting Affect: -hap Ev Disclaim: deny Who I don't even know and who doesn't 30 13 x-xi Evan Disclaim: counter Augmenting know me. Himself (Evan) Judgement: -cap Ev Disclaim: deny 31 But maybe if I did. 13 xii Evan Affect: -sec Ev Entertain Affect: -sec Ev Entertain Maybe if I could just talk to her, then 32 13 xiii-xiv Evan Affect: des Ev Focus maybe … Entertain Affect: -sec Ev Affect: -sec Ins Augmenting 33 Maybe nothing would be different at all. 13 xv Evan Everything Appreciation: neg. +reac Ins Entertain Augmenting Himself (Evan) Judgement: -cap Ev

162

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation Affect: des Ins 34 I wish that everything was different. 13 xvi-xvii Evan Everything Appreciation: +reac Ins Augmenting Affect: -hap Ev Affect: des Ins Augmenting 35 I wish that I was part of … something. 13 xviii-xix Evan Affect: -hap Ev Augmenting

Affect: des Ins Augmenting I wish that anything I said … mattered Augmenting 36 13 xx-xxi Evan to anyone. Affect: -hap Ev Augmenting Augmenting I mean, face it: would anybody even Himself (Evan) Judgement: -cap Ev Proclaim: pronounce 37 13 xxii-xxv Evan Augmenting notice if I disappeared tomorrow? Affect: -hap Ev Disclaim: counter Himself (Evan) Judgement: +ten Ins Augmenting Sincerely, your best and most dearest 38 13 xxvi Evan Himself (Evan) Judgement: +ten Ins friend, Me Augmenting Affect: -hap Ev

163

Appendix 17: Results of the dialogue preceding WTAW #2

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation 1 A letter to yourself? 1 i Jared Evan Judgement: -norm Ev Augmenting 2 What the crap does that even mean? 1 ii Jared Evan Judgement: -norm Ev Augmenting 3 It's like, some kind of sex thing? 1 iii Jared Mitigation Disclaim: deny 4 No, it's not a sex thing. 2 i-ii Evan Disclaim: deny 5 It's … it was an assignment. 2 iii-iv Evan Affect: -sec Ev Disclaim: counter 6 Why are you talking to me about this? 3 i Jared Evan Judgement: -cap Ev 7 I didn't know who else to talk to. 4 i Evan Affect: -hap Ev Disclaim: deny Affect: -sec Ev 8 You're my only … family friend. 4 ii Evan Affect: -hap Ev 9 Oh my God. 5 i Jared Evan Judgement: -norm Ev 10 I don't know what to do. 6 i-ii Evan Affect: -sec Ev He stole the letter from me three days 11 6 iii Evan Connor Judgement: -prop Ins ago And then he just, he hasn't been at Affect: -sec Ev 12 6 iv-v Evan Disclaim: deny Focus school since. Affect: -sec Ev 13 That does not bode well for you. 7 i Jared Affect: -hap Ev Disclaim: deny 14 What is he going to do with it? 8 i Evan Affect: -sec Ev P1 15 Who knows? 9 i Jared Connor Judgement: -norm Ev Connor Murphy is batshit out of his Augmenting P1 16 9 ii Jared Connor Judgement: -norm Ins mind Augmenting Do you remember when he threw a printer at Mrs. G in second grade, P1 17 9 iii-v Jared Connor Judgement: -norm Ev because he didn't get to be line leader that day? Do you think he's going to show the 18 10 i-ii Evan Affect: -sec Ev letter to other people? 19 He's going to ruin your life with it. 11 i Jared Proclaim: concur Augmenting 20 For sure. 11 ii Jared Augmenting Proclaim: pronounce 21 I mean, I would. 11 iii-iv Jared Augmenting Entertain 164

Appendix 18: Results of the dialogue preceding FF

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation I think you're the only one with an 1 2 i-ii Cynthia Larry Sarc. Judgement: +norm Ev Proclaim: pronounce Augmenting appetite, Larry. 2 The Harrises brought it over 3 i Larry Cynthia Judgement: -prop Ev 3 Did Connor tell you about the Harrises? 4 i Cynthia Affect: +hap Ev We used to go skiing together, our 4 5 i Cynthia Affect: +hap Ev Augmenting families. 5 Connor loved skiing. 6 i Evan Affect: +hap Ins Proclaim: concur Affect: -hap Ins 6 Connor hated skiing. 7 i Zoe Disclaim: deny Evan Judgement: -ver Ev Proclaim: concur 7 Well, right. That's what I meant. 8 i-ii Evan Proclaim: concur Affect: +hap Ins Connor loved talking … about how much 8 8 iii-iv Evan Affect: -sec Ev he hated skiing. Affect: -hap Ins Affect: -sec Ev 9 So you guys, you … you hung out a lot? 9 i-iii Cynthia Affect: +hap Ev 10 Pretty much. 10 i Evan Ev Proclaim: concur P1 11 Where? 11 i Zoe Evan Judgement: -ver Ev Affect: -sec Ev 12 Oh you mean, like, where did we …? 12 i-iv Evan Affect: -sec Ev Affect: -sec Ev Affect: -sec Ev I mean, sometimes we'd come to his 13 12 vii-ix Evan Affect: -sec Ev house if nobody else was here. Affect: -sec Ev 14 We would email a lot, though, mostly. 12 x Evan Affect: -sec Ev So we wouldn't have to, he didn't want Disclaim: deny 15 12 xi-xii Evan Affect: -sec Ev to always hang out. Disclaim: deny 16 In person, you know? 12 xiii-xiv Evan Affect: -sec Ev Entertain P1 17 There aren't any from you. 13 ii Zoe Evan Judgement: -ver Ev Well, no, of course, yeah, I mean, that's Affect: -sec Ev 18 14 i-v Evan Disclaim: deny Augmenting because he had a different account. Affect: -sec Ev 19 I should have said that before. 14 viii Evan Himself (Evan) Judgement: -cap Ev 20 That was probably very confusing 14 ix Evan Himself (Evan) Judgement: -cap Ev Entertain 165

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation P1 21 Why was it secret? 15 i Zoe Evan Judgement: -norm Ins Just so no one else could, it was more Affect: -sec Ev 22 16 i-iii Evan private, I guess, that way. Affect: -sec Ev 23 He knew you read his emails. 17 i-ii Cynthia Larry Judgement: -prop Ev 24 Somebody had to be the bad guy. 18 i Larry Himself (Larry) Judgement: -prop Ins Augmenting The weird thing is, the only time I ever Thing Judgement: -ver Ev Augmenting P1 25 saw you and my brother together was 19 i-iii Zoe Connor Judgement: -ten Ins Augmenting when he shoved you at school last week. Evan Judgement: -ver Ev 26 He shoved you? 20 i Cynthia Connor Judgement: -cap Ins 27 I um … I tripped. 21 i Evan Affect: -sec Ev Mitigation P1 28 I was there. 22 i Zoe Evan Judgement: -ver Ev P1 29 I saw the whole thing. 22 ii Zoe Evan Judgement: -ver Ev Zoe Connor Judgement: -ten Ins Augmenting P1 30 He pushed you, hard. 22 iii-iv Zoe Evan Judgement: -ver Ev Augmenting 31 Oh. I remember now. 23 i-ii Evan Himself (Evan) Judgement: -cap Ev Proclaim: concur 32 That was a misunderstanding. 23 iii Evan Ev Mitigation Because, the thing was, he didn't want 33 us to talk at school, and I tried to talk to 23 iv-vi Evan Himself (Evan) Judgement: -cap Ev Disclaim: deny him at school. 34 It wasn't that big a thing. 23 vii Evan Ev Disclaim: deny Mitigation 35 It was my fault. 23 viii Evan Himself (Evan) Judgement: -cap Ev Mitigation P1 36 Why didn't he want you to talk to him at school?24 i Zoe Evan Judgement: -ver Ev Disclaim: deny He didn't really want people to know we 37 25 i Evan Affect: +hap Ins Disclaim: deny Mitigation were friends. Affect: -sec Ev 38 I guess he was embarrassed. A little. 25 ii-iii Evan Entertain Mitigation Connor Judgement: -ten Ins Connor Judgement: -ten Ins 39 Why would he be embarrassed? 26 i Cynthia Affect: -sec Ev

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Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation Affect: -sec Ev Entertain Um. I guess because he thought I was Affect: -sec Ev Attributive: acknowledge 40 27 i-iv Evan Mitigation sort of, you know … Affect: -sec Ev Entertain Affect: -sec Ev 41 A nerd? 28 i Zoe Evan Judgement: -norm Ins 42 Zoe. 29 i Larry Zoe Judgement: -prop Ev Affect: -sec Ev 43 Isn't that what you meant? 30 i Zoe Disclaim: deny Augmenting Herself (Zoe) Sarc. Judgement: +prop Ev 44 Loser, I was going to say, actually. 31 i Evan Himself (Evan) Judgement: -norm Ins Disclaim: counter Disclaim: counter 45 But. Nerd works, too. 31 ii-iii Evan Himself (Evan) Judgement: -norm Ins Augmenting Proclaim: concur Augmenting 46 That wasn't very nice. 32 i Cynthia Zoe Judgement: neg. +prop Ins Disclaim: deny Mitigation Well, Connor wasn't very nice, so that Connor Judgement: neg. +prop Ins Augmenting 47 33 i-ii Zoe Disclaim: deny makes sense. Herself (Zoe) Judgement: -prop Ev Augmenting Connor was … he was a complicated Affect: -sec Ev 48 34 i-ii Cynthia Connor Mitigation person. Judgement: -cap Ins Disclaim: deny 49 No, Connor was a bad person. 35 i Zoe Connor Judgement: -prop Ins Disclaim: counter 50 There's a difference. 35 ii Zoe Cynthia Judgement: -cap Ev 51 Zoe, please. 36 i Larry Zoe Judgement: -prop Ev Don't pretend like you don't agree with 52 37 i Zoe Larry Judgement: -ver Ins Disclaim: deny me. You refuse to remember any of the good things Appreciation: +val Ins 53 38 i Cynthia Augmenting things. Zoe Judgement: -ten Ins things Appreciation: +val Ins Augmenting 54 You refuse to see anything positive. 38 ii Cynthia Zoe Judgement: -ten Ins Augmenting things Appreciation: neg. +val Ins 55 Because there were no good things. 39 i Zoe Disclaim: deny Cynthia Judgement: -cap Ev things Appreciation: +val Ins 56 What were the good things? 39 ii Zoe Augmenting Cynthia Judgement: -cap Ev I don't want to have this conversation in 57 40 i Cynthia Affect: -hap Ev Disclaim: deny Mitigation front of our guest. What were the good things, Mom? Tell Appreciation: +val Ins Augmenting 58 41 i-ii Zoe things me. Judgement: -ver Ev Augmenting 167

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation things Appreciation: +val Ins 59 There were good things. 42 i Cynthia Affect: -hap Ev I remember a lot of good things about things Appreciation: +val Ins 60 43 i Evan Augmenting Connor. Connor Judgement: +cap Ev 61 Like what? 44 i Zoe Evan Judgement: -ver Ev 62 Never mind. 45 i Evan Affect: -sec Ev Himself (Evan) Judgement: -cap Ev Augmenting 63 I shouldn't have, I'm sorry, never mind. 45 ii-iv Evan Affect: -sec Ev Augmenting Affect: -sec Ev 64 No, Evan. You were saying something. 46 i-ii Cynthia Evan Judgement: +cap Ev Disclaim: deny Augmenting Mitigation 65 It doesn't matter. Really. 47 i-ii Evan Affect: -sec Ev Disclaim: deny Augmenting We want to hear what you have to say. 66 48 i-iii Cynthia Evan Judgement: +cap Ev Augmenting Please. Affect: -sec Ev Mitigation Well, I was just … Connor and I … we had Affect: -sec Ev 67 a really great time together, this one 49 i-v Evan time together Appreciation: +val Ins Augmenting day, recently. Affect: +hap Ev Affect: +hap Ev That's something good that I remember 68 49 vi-vii Evan something Appreciation: +val Ins about Connor. 69 That's what I keep thinking about. 49 viii Evan Affect: +hap Ev Augmenting 70 That day. 49 ix Evan Ev Augmenting Affect: -sec Ev 71 At the apples, um … the apples … place. 49 x-xi Evan Affect: -sec Ev 72 Anyway. 49 xii Evan Affect: -sec Ev Affect: -sec Ev 73 It's, I knew it was stupid. 49 xiii-xv Evan the memory Appreciation: -val Ins Proclaim: concur Himself (Evan) Judgement: -cap Ev 74 I don't know why I even brought it up. 49 xvi-xvii Evan Himself (Evan) Judgement: -cap Ev Disclaim: counter P2 75 He took you to the orchard? 50 i Cynthia Affect: +hap Ev Proclaim: concur Augmenting 76 Yes. He did. 51 i Evan Proclaim: concur

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Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation P2 77 When? 52 i Cynthia Affect: +hap Ev Mitigation 78 Once. It was just that once. 53 i-ii Evan Augmenting But. He said the apples there were the 79 53 iii-vi Evan Apples Appreciation: +reac Ins Disclaim: counter best. 80 I thought that place closed. Years ago. 54 i-ii Larry Entertain Augmenting Exactly. Which is why we were so Affect: -hap Ins Augmenting bummed when we got there, because it 81 55 i-v Evan Affect: -sec Ev Proclaim: concur was completely, it's totally closed down Augmenting Affect: -hap Ins now. We used to go to the orchard all the P3 82 56 i Cynthia Affect: +hap Ev time. P3 83 We'd do picnics out there. 56 ii Cynthia Affect: +hap Ev P3 84 Remember that, Zoe? 56 iii Cynthia Affect: +hap Ev Entertain Proclaim: concur 85 Yeah. I do. 57 i-ii Zoe Augmenting Proclaim: concur You and Connor had that little toy plane P3 86 58 i Cynthia Affect: +hap Ev you would fly. P3 87 Until you flew it into the creek 58 ii Cynthia Affect: +hap Ev P3 88 That was an emergency landing. 59 i Larry Affect: +hap Ev 89 I can't believe he took you there. 60 i-ii Cynthia Affect: +hap Ev 90 I bet that was fun. 60 iii-iv Cynthia time together Appreciation: +val Ins Entertain Affect: +hap Ev Entertain Augmenting 91 I bet you two, I bet you had fun. 60 v-vi Cynthia time together Appreciation: +val Ins Entertain Affect: +hap Ev 92 We did. 61 i Evan Proclaim: concur 93 The whole day was just … 61 ii Evan Affect: +hap Ev Focus

169

Appendix 19: Results of the dialogue preceding FF#1

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation 1 I'm not doing this. 1 i Evan Affect: -hap Ev Disclaim: deny 2 I'm done. 1 ii Evan Affect: -hap Ev Augmenting 3 You can't just stop now. 2 i Connor Evan Judgement: -prop Ev Disclaim: deny Focus Disclaim: deny 4 I don't think I can live with this anymore. 3 i-ii Evan Affect: -sec Ev Entertain P1 5 What about my parents? 4 i Connor Evan Judgement: -prop Ev 6 No more emails. 5 i Evan Affect: neg. +hap Ev Disclaim: deny P1 7 How can you do this to them? 6 i Connor Evan Judgement: -prop Ev 8 No more Connor Project. 7 i Evan Affect: neg. +hap Ev Disclaim: deny 9 No more orchard. 7 ii Evan Affect: neg. +hap Ev Disclaim: deny Augmenting P1 10 After everything they've done for you? 8 i Connor Evan Judgement: -prop Ev P1 11 They need you. 8 ii Connor Evan Judgement: -prop Ev 12 Need me for what? 9 i Evan Himself (Evan) Judgement: -cap Ev Disclaim: counter 13 To keep lying to them? 9 ii Evan Himself (Evan) Judgement: -ver Ins That lie is the only thing that's keeping 14 10 i Connor Judgement: +ver Ev Augmenting them together. 15 That's not true. 11 i Evan Connor Judgement: neg. +ver Ins Disclaim: deny 16 Oh, really? 12 i Connor Sarc. Entertain They seemed like a pretty happy family 17 12 ii-iii Connor Affect: +hap Ins Sarc. Entertain Mitigation when you met them? Himself (Evan) Judgement: neg. -ver Ins 18 I don't want to lie anymore. 13 i Evan Disclaim: deny Affect: -hap Ev 19 And what about Zoe? 14 i Connor Evan Judgement: -prop Ev Affect: -sec Ev Attributive: acknowledge 20 Zoe said, she just … she wants me. 15 i-iii Evan Focus Affect: +hap Ev Disclaim: counter 21 Right. 16 i Connor Sarc. Proclaim: concur Affect: +hap Ins 22 She likes me for who I am. 17 i Evan Disclaim: counter Affect: +hap Ev

170

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation Evan Judgement: -ver Ins Disclaim: deny Mitigation Augmenting Except you didn't happen to mention Augmenting P2 23 that everything you've told her, it's all 18 i-iv Connor Evan Sarc. Judgement: +ver Ev Disclaim: counter Augmenting been one big fucking lie, did you? Augmenting Augmenting P2 24 You left that part out. 19 ii Connor Evan Sarc. Judgement: +ver Ev Mitigation Affect: -sec Ev So then, what if … what if I did tell her 25 20 i-iii Evan Judgement: +ver Ins the truth? Affect: -sec Ev 26 She'll hate you. 21 i Connor Affect: -hap Ins Maybe she would understand. Maybe Affect: -sec Ev Entertain 27 22 i-ii Evan Augmenting everyone would understand. Affect: -sec Ev Entertain 28 Everyone will hate you. 23 i Connor Affect: -hap Ins Augmenting Affect: -sec Ev Disclaim: deny Focus Not if I can just, if I can explain it, you 29 24 i-iii Evan Disclaim: counter know? Affect: -sec Ev Entertain You'll go right back to where you 30 25 i Connor Evan Judgement: -cap Ev started. 31 No friends. 25 ii Connor Affect: neg. +hap Ins Disclaim: deny Augmenting Affect: des 32 I want to be done // with this. 26 i Evan Affect: -hap Ev 33 Nobody. 27 i Connor Augmenting 34 Nothing. 27 ii Connor Augmenting Augmenting 35 Alone. 27 iii Connor Augmenting 36 I'm ready to be done with it. 28 i Evan Affect: -hap Ev If you really believe that, then why are 37 29 i-iii Connor Evan Judgement: -ver Ev Focus you standing here, talking to yourself? 38 Again? 29 iv Connor Augmenting

171

Appraising item Turn String Appraiser Appraised Attitude Engagement Graduation You think you're going to turn around all 39 of a sudden and start telling everyone 30 i-iii Connor Evan Judgement: -ver Ev Proclaim: pronounce Focus the truth? Disclaim: deny 40 You can't even tell yourself the truth. 30 iv Connor Evan Judgement: neg. +ver Ev Disclaim: counter 41 What are you talking about? 31 i Evan Affect: -sec Ev 42 How did you break your arm? 32 i Connor Evan Judgement: -ver Ev 43 How did you break your arm, Evan? 33 i Connor Evan Judgement: -ver Ev Augmenting 44 Really? Is that what happened? 35 i Connor Evan Sarc. Judgement: +ver Ev Affect: -sec Ev 45 I was, I lost my grip and I … I fell. 36 i Evan Affect: -sec Ev 46 Did you fall? 37 i Connor Evan Sarc. Judgement: +ver Ev 47 Or did you let go? 37 ii Connor Evan Sarc. Judgement: +ver Ev

172

Appendix 20: How the musical ends

Evan re-commits himself to The Connor Project, but Alana is having doubts about his story. In a final attempt to prove his friendship with Connor, Evan sends Connor’s supposed suicide note to Alana, who publishes it online. It spreads quickly on social media and the Murphy’s receive hurtful comments from people all over the world, blaming them for Connor’s suicide. Seeing them crumble under the pressure, Evan admits he was the one who wrote the letter.

The letter is also seen by Heidi, who quickly recognises the first lines as Evan’s therapist assignment, realising it was not Connor’s suicide note. Evan finds comfort with his mother, for the first time opening up about the content of the letter as being his own feelings.

Life continues and Evan takes a year off school to be able to fund his education. Although the bond is broken, the Murphy’s never exposed Evan’s lie, deciding that everyone had needed it for something: it had not only saved the family during their grieving process, but had also led to the founding of the Connor Project, an important moment for people to realise that everyone should matter.

Dear Evan Hansen, Today is going to be a good day and here’s why. Because today at least you’re you and that’s enough.