Late-night talk shows typically feature interviews with celebrities, as well as comic skits and monologues by the hosts, after whom the shows are usually named.

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This explains why coming to a mutual understanding in dialogue is generally much easier than interpreting or producing utterances in monologue.
Differences in processing may simply be a matter of degree, not of kind, especially given that monologue-like episodes are common even in naturalistic conversation.
They are mistaken in assuming that we propose a categorical distinction between monologue and dialogue.
Whereas it is possible that there are differences between monologue and dialogue with respect to judgments of grammaticality, we accept that such differences are unlikely.
All our recorded examples come from spoken material and are either from dialogues or monologues with a clear audience in mind.
Indeed, they have commonly assumed that dialogue simply involves chunks of monologue stuck together.
Students listening to a scripted monologue outperformed those listening to an unscripted discussion of the same content.
But monologue can also be about restricted topics, and yet all indications suggest it is much less repetitive and routinization is much less common.

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Dramatic speech, in monologues and declamations, was sometimes rhetorical to a degree which may seem artificial to modern audiences.
Language teaching materials tend to concentrate on monologues or dialogues where turn-taking is structured and predictable, with some kind of transactional goal.
Each piece, under the weight of long narrative monologues, seems at this stage to have been pressed into the shape of an exclusively literary object.
Commentators have also questioned our downplaying of “other modeling” in ordinary conversation and our claims about the nature of the difference between monologue and dialogue.

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