Today I’m reposting a blog I created in 2014 before my first novel Secrets & Charades was published. The content is still relevant today. Comment below if you have other suggestions regarding biligual dialogue.
How can you create bilingual characters in dialog? How do you write in a language you don’t know? Let me share how I did it and what not to do. And the fine line to clarity.
When I discovered a few of my secondary characters either did not speak English or it was their second language, I wanted to help my readers understand them and appreciate their ethnic differences. Adding portions of another language to my manuscript could make things interesting. The trick is not to add too much. I’d learned from other writes not to write my dialog exactly as I hear others around me speak. That goes double when writing dialog spoken by bilingual speakers. Trust me—don’t. It is difficult enough to decipher some pieces of conversation where the syntax is different or words are mispronounced. Put that in writing and your reader will be confused enough to stop reading. I recall years ago when my son was required to read Shiloh for his English class. He asked me to read it out loud to him. The author had put thick accents into his southern dialog, and there were times I had to stop and explain what the words meant.
The trick is sprinkling dialog with an accent rather than recreating the accent syllable by syllable. Although the Irish speak English, it sounds different. As my heroine, Evangeline reflects on her late friend an Irish woman. She recalls her brogue. Using the word brogue lets the reader hear the accent. Adding words like lassie and ye into the conversation nails it without overdoing the speech pattern.
“I saw ye in a new place with large mountains and wide plains, and the wind was blowing your hair. Your face be more serene than I had ever seen it afore. Ye seemed younger, and love glowed from your eyes, the love a woman has for a man.”
Sprinkle in the second language
In my current novel a few of my minor characters are Mexican. I wanted to add a line here and there to flavor the scenes in Spanish. I went to a language translator on the internet to quickly add what I needed. Once my rough draft was finish, I showed those lines to my Mexican daughter-in-law and her family. They explained the need to change the wording because it wasn’t Mexican. And based on few scenarios, a more informal exchange was needed. Spanish has several dialects, and what I found on the internet was a more formal European Spanish.
Balance is the key. My Mexican housekeeper character mixes her languages.
“Mija, you’re going to break the chair. Stop sitting like a boy; try to sit like a lady.”
Listen carefully to those bilingual speakers around you, and then modify your dialogue to touch on it
Why did I make sure the translation was accurate?
Because readers who know Spanish would be taken out of the story if the language is wrong. Rather than have a lot of Spanish, I have the Mexican characters say a line in Spanish and another character react in English so the reader can follow the conversation. In this snippet our heroine practices her Spanish on her neighbor’s maid. We can tell by the neighbor’s remark what she said.
“Su pastel seve delicioso, muchas gracias.” Evangeline smiled as she spoke to Maria.
“I see you have picked up Spanish. That is a good way to keep these people on their toes. But there is no need to thank Maria; she is only doing what she is paid to do.” Thomas remarked.
Implied language
When it came to my Chinese characters, I opted for a more implied scenario. Wong Mae greets Evangeline as she enters her dry goods store. Here is a portion of their conversation.
On hearing Selena’s name, she turned to the older man, speaking in what Evangeline assumed was Chinese. The exchange between the two had a melodic quality.
“I am Wong Mae, and this is my father, Wong Chow. We hold Miss Selena in high regard. She is kind and brings us much business from the households of the white ranchers. If she is your friend, you are ours. My father did not know Mr. Marcum married. He says to give you the best price on anything in the store.”
Notice how the translation is all we read. That way I didn’t have to worry about incorrect translation. If these were main characters, I would probably have added Chinese dialog. I wanted to establish their nationality and their position in the community rather than a deeper characterization.
Introduction through dialog
Even without describing your character you can introduce their ethnicity. Selena the housekeeper is introduce through dialog.
“Good Morning, Selena.”
“Buenas Dias, Senor.”
Later more details are given regarding her character, but for a brief moment the reader can visualize a Spanish woman in the kitchen preparing breakfast.
Introducing language through setting
Describing setting can also give the writers a feel for the language. Evangeline visits a dry goods store run by the Wong family. As Evangeline enters town, she observes the distinctive Chinese flavor of the store fronts in one area of town. The dragon bedecked door sets the Wong’s store apart from any other shop. Instantly, the reader expects to enter the store and be greeted in Chinese.
Remember only touch on the accent
Decide what part of an accent flavors it without creating confusion. My other daughter-in-law is Filipina. (Yes we are an international family.) The syntax of the English language comes out different from her and all my other Filipino friends. Let’s create a short dialog to see how it might sound.
“Madam, see this sale. A buy one take one.” Ana held up her two pair of sandals.
“Nice. But what will your husband say? You already have a lot of shoes.”
Sharon’s question deflated the Filipino girl’s joy.
Ana did not look at her friend for a moment. A smile formed on her lips. “She knows I love shoes.” Her eyes anxious. “It’s okay, ma’am. Don’t worry.” Ana reached inside another bag, her smile regaining its sparkle.
“Look at the watches. I got three pieces for twenty dollars. See, beautiful.”
Sharon determined not to quench her friend’s one real joy by further rebuke.
Immediately it appears there is a typo. Shouldn’t she be he? The term husband usually refers to men. However, the Tagalog language and all the dialects of the Philippines have no pronouns. So often when my daughter-in-law is referring to a man she may slip and say she or her. Pronouns are a confusing part of the English language even after speaking it since grade school. So I would opt not to use this quirk unless the confusion aided in the plot. And it would have to be well-established early on for readers.
But the use of less common English words would give the same feel. Filipinos refer to buy one get one free as buy one take one. Rather than say there are six, its six pieces. Part of the culture is to refer to women as madam and men as sir. Yes ma’am is very common. So we capture her speech pattern in a way not to confuse the reader.
Lastly, let me recommend some great books from experts. For a more in-depth look at dialog check out James Scott Bell’s book How to Write Dazzling Dialogue: the Fastest Way to Improve Your Manuscript. DiAnn Mills The Dance of Character and Plot is another great reference.
How do you capture the essence of your characters?
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We’ve written our first book all by ourselves. The words materialized on the page. It’s a best-seller. So naïve. The publishers squash our dream of mega sales after multiple rejections. How is that possible? Could it be we know nothing about creative writing beyond what we learned in English class? Time to get educated. Conferences are not always cost effective for newbies putting their toe in the writing river.
