How would I write a paragraph as Ernest Hemingway and also a paragraph as William Faulkner?I have to write a dinner conversation as the two authors.

Having been a journalist as a young man, Ernest Hemingway
practiced writing in a clear, simple style that was economical.  That is, he did not
write sentences that had many introductory words or descriptive words, or transitional
words. On the other hand, William Faulkner wrote sentences that were often at least half
a page long.  While eloquent, these sentences are very, very complex, containing many
nonessential clauses, and descriptive phrases.  However, in a story such as "Barn
Burning" which has the simple agragian Snopses, writing a conversation in the fashion of
their dialects could be easier, and probably funnier.  The Snopses, use language that is
very telling about their personalities.  For instance, these thoughts of the
ten-year-old protagonist, Sartoris, from "Barn Burning" indicate his feeling of
vengeance that will wipe out everything, his wish to rid himself of all that troubles
him, and his childishness in thinking all his problems will be solved "for
ever."

Maybe
it will all add up and balance and vanish—corn, rug, fire; the terror and grief, the
being pulled two ways like between two teams of horses—gone, done with for ever and
ever.

Thus, to write a
conversation in the Faulknerian style, you may wish to simply imitate the diction of
such a character as Sartoris Snopes, whose childish imaginings are in the
superlative.

Two stories of Hemingway's that would assist
the writing of a dinner conversation are "Hills Like White Elephants" and "A Clean
Well-Lighted styles of Place," for these both have Hemingway's conversations that
illustrate his signature "iceberg effect."  That is, while the conversations seem rather
mundane, there is much meaning beyond the surface. For instance, the man and the woman
in "Hills Like White Elephants" talk in cryptic sentences with a tauntness of
description; that is, they seem at first as though they speak of something
inconsequential when in reality their subject is the very serious topic of
abortion:

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‘Then what will we do
afterwards?’

‘We’ll be fine afterwards. Just like we were
before.’

‘What makes you think
so?’

‘That’s the only thing that bothers us. It’s the only
thing that’s made us
unhappy.’

So, in the dinner
conversation, one character can be like a Hemingway character--terse with hidden
meanings while the other can be Faulknerian--exaggerated and at the same
time childish.