Ellipsis is a typical phenomenon in conversation, arising out of the situation. It becomes a SD when it imitates the common features of colloquial language.

Ellipsis is a pattern, in which one or more members of the sentence are omitted but they can easily be restored by the context. This typical feature of the spoken language assumes a new quality when used in written language. It is characteristic of a dialogue to create the effect of naturalness and authenticity of lively emotional speech.

E.g. See you tomorrow.  Had a good time. You say that?

Aposiopesis (or Break-in-the-Narrative) is an unfinished syntactic structure used to show great excitement, strong emotions, etc. paralleling the person's speech; or his deliberate stop in the utterance to conceal its meaning; to show unwillingness to go on or to suggest that what remains unspoken can be guessed. Aposiopesis is mainly used in the dialogue, and is graphically marked by dashes and suspension marks (dots).

E.g. You just come home or I'll…

E.g. Good intention but…

Question-in-the-Narrative changes the real nature of a question and turns it into a SD. Normally, questions are asked by one person and expected to be answered by another. A question-in-the-narrative is asked and answered by one and the same person, usually the author. It has strong emotional implication and close to a rhetoric question (to which the answer is not really necessary), because here the answer is not known for sure.

E.g. How long must it go on? How long must we suffer? Where is the end? What is the end? (Norris)

E.g. Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don't know how many years. (Dickens)

Represented Speech. There are three ways of reproducing actual speech:

a) Direct speech – repetition of the exact utterance as it was spoken;

b) Indirect speech – conversion of the exact utterance into the relater’s mode of expression;

c) Represented speech – representation of the actual utterance by a second person, usually the author, as if it had been spoken, whereas it has not really been spoken but is only represented in the author's words.

There is also a SD, called represented speech, which conveys to the reader the unuttered or inner speech of the character, thus representing his thoughts and feelings.

To distinguish between the two varieties of the represented speech we call the author's representation of the actual speech uttered represented speech, and the representation of the character's thoughts and feelings – unuttered or inner represented speech.

Uttered represented speech demands that the tense should be switched from the present to the past and that the personal pronouns should be changed from 1^st and 2^nd person to 3^rd person as in indirect speech, but the syntactic structure of the utterance does not change.

E.g. Could he bring a reference from where he now was? He could. (Dreiser)

E.g. A maid came in now with a blue gown very thick and soft. Could she do anything for Miss Freeland? No, thanks, she could not, only, did she know where Mr. Freeland's room was? (Galsworthy)

Unuttered or Inner represented speech is a psychological phenomenon; it is very fragmentary, incoherent, isolated, and consists of separate units which only hint at the content.

E.g. An idea had occurred to Soames. His cousin Jolyon was Irene's trustee, the first step would be to go down and see him at Robin Hill. Robin Hill! The odd -–the very odd feeling those words brought back. Robin Hill – the house Bosinney had built for him and Irene – the house they had never lived in – the fatal house! And Jolyon lived there now! H'm! (Galsworthy)

Unlike the uttered represented speech it is usually introduced by verbs of mental perception (think, meditate, feel, occur, wonder, ask, tell oneself, understand, etc)

E.g. Over and over he was asking himself: would she receive him? Would she recognize him? What should he say to her?