Should we 'Americanize'?

Wow. No. My editors cared very much about everything. We worked together. Anything they didn't understand we spoke about.

Also, it's not just idiots who read it, or people who'll forgive any old thing. I've read lots of reviews where readers have picked up on bad use of language, or books that have been poorly edited. I know people look down on the stuff I write but I work damn hard, and so do my editors, publishers, proofreaders and betas.
I don't think anyone here looks down at it. I certainly don't.

With Inish I'd struggle to change a lot of the venacular - the book is supposed to sound like a book about Belfast. It ain't my fault the rest of you talk all wrong. :D

And - Irish...? I am as lost as the rest of you. I had to enlist help for Inish's title and it's 2 words, one of which is in the name of my town....
 
Although when I was talking to Brian about language I believe I was discussing language that was too modern in a novel with a medieval setting

Absolutely right, and I meant to come back and clear that up. It seemed a good principle to apply in general, though, unless cultural idioms were necessary to the characters and story.
 
That's interesting, Teresa. Did you think my story was Scottish-like? (what's the word? Scottishy? Och aye.) I thought I always wrote pretty neutral English, ye ken.
 
What I meant, Hex, and I probably can't articulate it because it sounds confusing even in my head, is that there are idioms that cross the England/Scottish border, and if there were none of them at all your characters would sound neither English nor Scottish. (Which would be odd in a book so firmly linked to a particular setting in the British Isles.)

And there are a few of those idioms in your book, but not enough, I think, to bother even the kind of American reader who is bothered by that sort of thing.
 
  • Like
Reactions: Hex
I have just undergone a process of having Endeavour Americanised (Americanized! also, like it or not, this is sometimes considered Globlish - Most of the international product, eg films comes out of the US), a process all of my future works will undergo. Circa 95% of my readers are in the States... it makes sense for ME to do that. That doesn't mean it makes sense for everyone. Your audience may mostly be Brits.

I am not concerned about losing the voice. The conversions in Endeavour, for the most part have been a matter of converting 's' to 'z' and changing some slang phrases to more generic ones. My voice is still intact.

In Endurance/Venture, (damn that film still!!!) this may be a little bit more of an issues. It is first person and the POV is a British character. There I will preserve the character's use of slang etc, while ensuring the surrounding frame work (the admin - SPAG) is in American English thus preserving the voice, yet sating the majority of audience.

How your readers take a resolution to stick to British English will fall out of the reviews. As far as I'm aware A Heir takes place in, and I'm inventing a phrase here, an unrecognised future which doesn't have a direct lineage to any particular present day nationality. The characters and settings in mine do and often are American or descended. Maybe that will make a difference to reader perception.

Interestingly, when JLC started my conversion, she said the use of ' versus " screams British written (I used ' ). When she gets back from her holiday, I'll clarify whether she viewed that in any way negatively. I know there was a thread on this very topic awhile back however the first thing she did was write a macro to convert them all!
 
Interestingly, I've always used " - it was how I was taught at school. I think, for something with an american descent in its character/voice I'd be pleading for help to make sure it was accurate.

I'm not sure I resolutely stick to British english - I think the voice is pretty generic, but I have English spelling through it.

The thread has been useful, I think, and brought lots of fresh thinking to the subject for me. :)
 
I've been reading The Phoenix and the Mirror, by Avram Davidson (an American) but published by Orbit in the UK. What interests me is that the American spellings (such as plow) have been left, which is something I've come across more often in the last couple of years -- but single quote-marks have been used, which I'm sure wouldn't have been the case in the American original.
 
I'd be quite interested to see the original versions of Harry Potter. The Americanized versions are still quite clearly British, and not only in dialogue, where it would be expected.
 
I'd be quite interested to see the original versions of Harry Potter. The Americanized versions are still quite clearly British, and not only in dialogue, where it would be expected.

Its been 12 years since I read the US one but my clearest memory is asking my hubby "What the hell is a booger?"
 
Despite having spent some considerable time in the States, and learnt to decode most regional communications (the first time we landed in Atlanta Geeowja was a bit of a strain, y'all) I never learnt to speak it. Possibly because the people I met made an effort to understand British - nay, English English (we had a Glaswegian with us who had considerably more problems, but we had difficulty following him, let alone the Texans). I haven't learnt any Dutch or Danish, either - I'm not much of a linguist.

But when I wrote a story for an American publisher (that is, one who resides in the US of A, not merely from the double continent), though it came back several times for editing the instructions were 'dumb it down. Simplify.' never 'Americanise' (just as well, really, as I doubt if I could have done so). The American publisher underrates his readership's intelligence and education level, not their linguistic skills.

I do not recommend 'mid-Atlantic' (we used to do films dubbed in it for firms such as Firmenich and Rolex, and all it does is annoy both sides of the pond) nor the 'international English' growing, particularly in the extreme orient - I figure that a language which can be accommodated from Yorkshire to Cornwall, and from Maine to Louisiana is flexible enough to allow for a few more dialects.
 
The American publisher underrates his readership's intelligence and education level,
I hope that's the case. :(
All the many Americans I've met were very smart & educated people (in Ireland and in NY, NY, Orville, Ohio, Pittsberg, Boston and a town in NJ I stayed in someone's home.).

I wondered who Hollywood and US TV were aiming at?
 
like it or not, this is sometimes considered Globlish - Most of the international product, eg films comes out of the US), a process all of my future works will undergo. Circa 95% of my readers are in the States... it makes sense for ME to do that.
she said the use of ' versus " screams British written

Indeed, I figure that if I'm going to be successful as a fantasy writer, I need to take clear account of the US market. Teresa already did a great job of throwing up some unintended British-isms I'd used but weren't necessary. I would also like to see double quotes used for speech. :)
 
As an American, I honestly don't know why someone would do that? I love UK authors. I'm not seeing style differences for the most part, except for spellings. Which, yeah, I can figure out that "honour" means "honor."

I'd say that we can all learn a thing or two from foreign markets. Why would I want a US-hegemonic experience from every other country? Bleh.
 
NO. And I'm speaking as someone with two American publishers. I only had to Americanise my spelling and grammar for house rules, they wanted me to keep the Englishness. Americans aren't stupid.

Thank you, Mouse! Although quite a few of us really are. :sneaky:
 
Vernacular is completely different from the East Coast, Midwest, Mountian, to the Pacific Coast here in America.

Your best prose is going to be from what comes naturally to you. Be true to yourself, write what's in your heart, tell your stories through your voice and you characters will come through.

You are the storyteller.
 

Similar threads


Back
Top