August 20th, 2014 | The Writing Craft, Uncategorized | 5 Comments
Today’s post is dedicated to Lois Gladys Leppard, author of the Mandie books. If you weren’t a preteen girl in the 90s, you may not be familiar with the Mandie books, but they were a middle-grade series set at the turn of the century about a teenage girl living in North Carolina, and their chief charm, if I remember correctly, was that Mandie was rich and there were a lot of descriptions of her dresses. Yeah, they weren’t the deepest literature, but I DEVOURED them as an 8-or-9-year-old. Twenty years later, I couldn’t tell you much about what happened in the series (other than what her dress looked like for President McKinley’s inaugural ball), but one thing about the writing has stuck with me all this time.
The series is set in North Carolina, and various characters (the servants, in particular) were written as speaking with a strong southern accent. The way you knew they spoke with a strong southern accent was that practically EVERY line of dialogue spoken by those characters had the accent written into it phonetically, to the point that you sometimes had to sound it out to figure out what Liza was saying. “Yous sho’ did, Missy Manda! Now don’t yous go gittin’ that dirty, you heah?” This is a made-up line, but it’s representative of the way the “strong southern accent” was written into the dialogue. Did it clearly communicate the speech patterns/pronunciation of those characters? Mmmmyes, but was it also distracting and clunky? Also yes. I’m probably remembering the extreme examples, but the point is, if that method of conveying an accent/regional speech style was conspicuous enough that I picked up on it as a 9-year-old and remember it 20 years later, it was probably a bit overdone.
Now, Ms. Leppard is off the hook, both because in writing for children she probably felt she needed to be a bit more obvious than if she were writing for adults who had a better idea what a southern accent sounded like, and because Mandie’s clothes were pretty, but I’ve read too many manuscripts were the author didn’t have Ms. Leppard’s excuses and in which an overdone dialect or written-in accent completely overpowered what was actually being said in the dialogue. An author can convey a character’s style of speaking or an accent without using every cliche specific to that regional dialect or writing out every word phonetically by keeping the following guidelines in mind:
- Use phonetic spellings sparingly. Ending just the occasional “-ing” word with an apostrophe will suffice to put that “darlin’” southern drawl in a reader’s ear, and will ensure that the reader does most of the work of “translating” that character’s speech into the right voice and accent.
- Use regional vocabulary sparingly. There’s a big difference between how a British person actually talks and the American idea of how we THINK he talks– I once read a manuscript in which the dreamy main character from England spoke like the Monty Python caricature version of a British aristocrat– “What ho,” “right-o,” “spiffing,” and “cheerio” were sprinkled liberally through his dialogue, and made it impossible to take him seriously as a romantic lead. Don’t write in cliches; do your research, listen to or watch as much dialogue spoken by actual Irish or South African or Bostonian or New Jersey speakers as you can, and then let a few well-placed terms or words set the tone for the majority of the dialogue.
- Describe a speaker’s style of speaking. Though it’s certainly possible to overdo this one, it’s perfectly legitimate to describe a speaker’s voice or style of speaking a little when he or she is first introduced. If you tell the reader that a character spoke “with a curious lilt to some of her words, and he remembered that she had lived the first half of her life in Ireland,” it lets the reader fill in this blank for himself without your messing with the spelling of any dialogue or throwing in conspicuous Irish slang just to make sure they know that this character’s speech sounds a little different.
If you’ve written a character who speaks with an accent or in a regional dialect, make a point of asking your beta readers how well you conveyed that style of speaking, and whether they were ever distracted by phonetic spelling or obviously regional slang. And if you write for children, I hope your work will be enjoyed half as much as I enjoyed reading those Mandie books from 1992-1994, overdone accents notwithstanding. Thanks, Lois Gladys, for inspiring today’s post, and for being my first “favorite author.”
I think this will be the last post in my series on dialogue; if you have any lingering questions or issues you wish I’d address, please leave a comment and let me know– I’m happy to extend my farewell tour if it turns out there’s more to say on the subject. Thanks for reading!