Disclaimer

It’s been a few years, and there’s a chill in the air. When the time comes and my current books are launched, they may have to include a new paragraph on the copyright page. To whit:

Dear Reader:

This whole work is about me — my story about as much of the world as I’ve experienced. The world is vast. Imagining, let alone claiming, that I’m trying to speak for or in the voice of you or your family or your kinfolk, tribe, culture, religion, conspiracy theory or whatever you identify with or as — well, that’s about you and the alchemy of storytelling. If you find yourself in this work and dislike what you find, don’t make it about me. Write your own story. That’s where you’ll find what you’re looking for.

— the Author

Homesick

For the past five-and-a-half months I’ve been living in a dream world of my own making. I miss it.

When I was a child, I read to escape. Escape from boredom: our TV was a tiny black-and-white with no cable, I didn’t like sports and my school friends lived scattered and far away. Escape from company: I like quiet but I was in the middle of six kids and my parents liked to entertain, so I would retreat with a book to my bedroom or, if that wasn’t safe enough (I shared rooms with an older or younger sibling until I was 15), to the assured solitude of under-the-guest-room-bed. Escape from pain: in the worst year of my childhood, I read hundreds of folk- and fairy-tales, craving the triumph of the youngest over the oldest, the poor over the rich, the dreamer over the doer, the weak over the strong, whether through magic or the hero(ine)’s own, surprisingly sufficient nature.

One of my favourite writers, Diana Wynne Jones (may she rest in delight), said somewhere that she started writing for escape, too; that she and her sisters were insufficiently supplied with books to read and so she had to write to relieve the privations of not-so-benign neglect. I didn’t envy her lack but I did wonder what it would be like to be that motivated. I wanted to write so badly but couldn’t seem to stick to it. My notebooks were full of sparky ideas, beginnings and endings; I constantly described things in my head, in beautiful sentences that went nowhere; I wore myself out trying to figure people out and cast them as main characters in their own stories. I wrote good letters, all this time, and I helped many, many writers of stories see their way through sticky bits to the best story they could create, as an editor of children’s and YA fiction. I learned so much.

Finally, I got a job where I could create and write short works and be paid for them immediately. I went through hard psychic times, in which I figured out a few things about myself; I was seized by a story idea that wouldn’t let me go and which I worked on for over two years while I figured out a few more things about myself, including the probability that I have ADHD (diagnosis pending). With that last discovery, I’ve been able to forgive myself for “wasted” time and really get to work, using all the skills I’d gained so far. While I was working on my YA science/speculative novel, I discovered that I could get lost in writing the way I do in reading. I can wrestle with the angel of attention and win its blessings: total absorption, suspended time, surprise and delight and, finally, a finished project — beginning, middle and end.

The title of my novel is Otherwhere. I think there is going to be a sequel.

P.S. I have been blown away by this photographer, whose Instagram posts have often captured exactly and eerily what I imagined for my invented lands.

Rethinking Storytelling

Once there was a frog who had a —

No, not “had”

Once there was a frog who wanted to be a bird.

And how about also a bird that wanted to be a frog?

That’s ridiculous.

Why?

Why would a bird want to be a frog? It can fly, and it has all the space of the skies, and a frog just …

Has a swamp? A swamp is everything a frog needs: water for breathing and breeding, land and logs for calling and mating, bugs above for food and mud below for hibernation…

But it’s so dark and gloppy. The sky is wide and bright and—

Why would a frog want that?

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Image by Rudy and Peter Skitterians from Pixabay

Author’s Note

In one of my writing projects, characters sometimes speak or think in a language other than English. As a writer, I need to be able to use that language when I feel it is necessary and I hope that reader will receive (consciously or subconsciously) the flavour or meaning that I am trying to convey in my choice. Of course, I understand, actually hope, that most of my readers won’t understand it. Small interjections that resemble those of English are pretty easy to figure out, and repeated words become familiar through context and use. But a whole sentence is a challenge that we both, writer and readers, will need to find a way through. 

There are various techniques for dealing with the use of a language other than English in a story, according to my experience as a reader. 

Glossary. Before the story if not much of the language is used, at the back if there’s a lot of it. To parse a sentence the reader looks up individual words until she gets the jist of the whole sentence.

Repeat in English. Give the phrase in the other language, then repeat it in English.

In-story translation. A creative variation on the above. Have a bilingual character repeat the question in English before answering it, or respond in such a way as to make the other speaker’s meaning clear.

Footnotes. Use the other language as desired, providing a translation in a footnote.

Endnotes. Same as above but using endnotes, either at the end of the chapter or chapter-by-chapter at the end of the story.

Instant translation. Introduced by e-reading. The publisher of the digital version of the book provides a pop-up translation feature that the reader can access by selecting the relevant word or phrase. 

Reader initiative. The reader enters the word or phrase into a translation app or asks someone who know the language to get the meaning. 

I confess I am an impatient reader and will guess at and or skip over foreign words and phrases until a sense of missing out on something begins to irritate me. Only then will I bother to use the tools the book provides. This includes footnotes; I’ll look at a few but ignore most of them, especially if the few I’ve looked at haven’t added anything significant to my reading. Endnotes even more so — I simply can’t be bothered to interrupt the flow and flip to the end of the chapter or the book. However, I will review them when I’m done reading the story. Same with glossaries — I’ll read through when the story is done to see if I missed anything.

What I’m saying is that I don’t think I’m the best guide as to what approach is the best here. So, I’m putting it out there. What should I do?