From: brendawriter@yahoo.com   
      
   On 7/11/2015 8:15 PM, Michelle Bottorff wrote:   
   > Daniel S. Goodman  wrote:   
   >   
   >>   
   >> My amendment to your advice:  If possible, have someone who speaks that   
   >> particular version of a language look over your dialog.   
   >   
   > Nice trick when my book is set in a secondary world.   
   >   
   > Nobody speaks this language except for the characters in question.   
   > Not even me, and I invented it.  :)   
   >   
   >   
   > But maybe I can do this when I'm working in my alternate history world.   
   >   
   > Although my husband seems to be voting for the story set in Ohio, where   
   > people will mostly be speaking English (how boring!), to be next one I   
   > write in that world,  rather than the one set in Germany or the one set   
   > in Czechoslovakia.   
   >   
   > ...Or even, for that matter, the one set in England.  (Which I want to   
   > be a graphic novel, and for which I already have a rough draft of the   
   > script. I tried to convince him we could try kickstarter the cost of an   
   > artist for it, but he seemed unconvinced.)   
   >   
   >   
      
      
   My thesis is that you never need resort to distortions of grammar or   
   spelling. You can indicate class, foreign-ness, educational level,   
   profession, gender orientation even -- all with cadence, word choice,   
   and voice. Mark Twain said that in HUCKLEBERRY FINN he had four separate   
   dialects of American Southern, each delineated by spelling. I can't do   
   that. And it is difficult to read -- if you read it aloud you can hear   
   it, however.   
      
   Brenda   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)