Oh, so very British?

I have a different problem. I was born in England, raised for a while in America. I have submitted, and been told that while good, the mix between english and american terminology was confusing. As I am more English, that's the style I *attempt*! Lisa

You might like to check these out, my compadre:- http://www.abctales.com/story/sniper/sacred-shirts http://www.abctales.com/story/sniper/quantum-physics-for-depressives http://www.abctales.com/story/sniper/comfort-blanket Not like I'm a self-publicist or anything. Hope-u-like, anyhow.

It didn't seem to do Irvine Welsh any harm.

By the way, with the exception of Ireland, 'Celtic areas' are in Britain - I think you probably meant English.

"I can tell that the writers on this site are very talented, professional – or near professional, but I’m wondering if the heavy British-ness (I like making up words) might limit the market for some of your work." Britishness was a word before you made it up. I'm not sure what you're saying. Are you saying that you don't understand the language people use or that you can't connect with the things they're writing about?

Actually, I think Paul raises a very fair point here. I submitted a short story for a Canadian podcast and was really surprised to find the two presenters struggling over the dialogue, often confused about what words meant. We take a lot of Geordie, Scouse and Cockney slang for granted - it's pretty much assimilated into the national tongue. Even when I did my piece for the Guardian, I received bemused emails from the States, asking what 'jammy' meant.

Ha, you must've read Polidori's latest. I imagine even the English would have trouble understanding all of it. http://www.abctales.com/story/polidori/hello-sailor

I recall reading an American agent state that she simply would not consider any book that was not set in America or did not feature an American principle character - it would be too hard to sell. So I think in those terms, dialect is the least of your worries.

On the other hand, my beloved Gran, who never set foot on British soil in her life, LOVED writing set in England. She would pull me aside to ask what 'jammy' meant or what 'Wellies' were, but she loved it.

How'd you get on with Shakespeare?

This is not limited to slang. In business there are many differences which can cause great confusion. The best example is "trading." In the U.K. when someone asks "Is the company trading?" they want to know if the company is in business and actively selling their goods or services. To an American, that question would be ambiguous, but the first guess at the meaning would be: "Is the company's stock trading on the stock exchange?" That is not what it means at all. For that matter, "stock" means "inventory," not shares traded on the exchange. At the slang level, I find British slang far more interesting, descriptive, and wide-ranging than American slang. American English is actually quite boring in many ways, though it is often easier to understand for that reason. A more interesting issue is in translations into English. For example, Michel Houellebecq's early novels suffered in translations in part because the translator mixed British and American expressions. Since the translation was intended for the UK market, I suppose British expressions would have made sense if used consistently. Unfortunately, not only did the translator mix expressions, he really should have used American expressions throughout the novels because the whole tone and feel of the original was American and some of it even took place in the U.S. Many reviewers commented on the ham-handed translations, so this is not just me saying it. For the more recent novels, after he became famous outside France, they hired a better translator and solved that problem. I never write in dialect, Irvine Welsch notwithstanding. It is just way too annoying to read. I might include one or two examples to show what the character actually sounded like, but the bulk would not be in dialect. I have only read one of Irvine's books (Trash). It was ok, but I'll never read another. Slogging through all that dialect is way too much work for the outcome. "You don't need the light of the Lord to read the handwriting on the wall." Copies of Warsaw Tales available through www.new-ink.org

'Slogging through all that dialect is way too much work for the outcome.' agreed JT, I tried reading Ecstasy by Irvine Welsh but gave up. But I have often wondered why I managed to read 'A Clockwork Orange' so quickly and easily and thoroughly enjoyed it. Maybe it is because I was only about 14 at the time so my young mind was far more supple and able to get the fictional dialect than it would be nowadays! jude "Cacoethes scribendi" http://www.judesworld.net

I don't get off on Irvine Welsh, either - but I also found A Clockwork Orange an easy and enjoyable read. Anyone tried Russell Hoban's 'Riddley Walker'? I've tried it several times and think it's a very clever novel. Never managed to get all the way through, though. Sorry, I know it's off topic - well, slightly - and I know I've flagged it before, but this is always worth a look. Get your head around this accent, Paul! http://www.metacafe.com/watch/52129/scottish_star_trek/

This reminds me of a review of Spack's poetry (in 'Reactions') I read. The presumably American reviewer thought he was being deliberately obscure in using the words 'bap' and 'sachet'. He tried researching them to no avail, concluding that the poet was randomnly inserting French into his work. I've never had any problem myself, but a) I tend to send American publications pieces about 'Friends' and b) American poets and poetry editors seem, often, to be aficionados of English poetry. I don't think it's a big deal unless you're trying to crack the biggest possible market - and that aim is hard to reconcile with quality writing. The term 'lowest common denominator' was presumably coined to refer in some way to efforts to appeal to as wide a readership as possible, and is synonymous with junk. Speaking idealistically, writers should create their audience, not pander to an existing demograph.

I thought Ridley Walker was awesome - and not *that* difficult. Even if you don't get every single reference, following the story is pretty easy. I understand David Mitchell pretty heavily ripped off the voice for parts of Cloud Atlas.

"Speaking idealistically, writers should create their audience, not pander to an existing demograph." I'd go along with that. "I understand David Mitchell pretty heavily ripped off the voice for parts of Cloud Atlas." Funny, I nearly mentioned Cloud Atlas. I'm not a fan of Mitchell, and found the 'Ridley Walker rip-off' part of Cloud Atlas almost unreadable. His dialogue stinks.

I've just started reading Black Swan Green, and, though I suppose he might cleverly redeem himself, at the moment it's total bum. Perhaps his other novels are better.

"I've just started reading Black Swan Green, and, though I suppose he might cleverly redeem himself, at the moment it's total bum." You jest! It doesn't ring true with my own experience of youth (playground hierarchy? Nicknames? wtf?) but this was the eighties, not the nineties - maybe he's bang on the money. And aside from the unfamiliar yoof-culture, it's a well written beginning. Off to a better start than 'Cloud Atlas', whose initial two narrators were irritatingly over-verbose and almost entirely unsympathetic.

"Perhaps his other novels are better." Well, I tried Ghostwritten. Not really a novel so much as a series of episodes about different people. Maybe they all knit together at the end - I didn't get there to find out. 'Black Swan Green' was, apparently, largely his 'first' novel - a good deal of it written prior to GW. I've read a couple of chapters and haven't been inclined to go any further. I just think he's massively over-rated. Very clever. Very inventive. Just not my packet of Smarties.

I can understand someone not knowing "bap," but "sachet" is hardly slang. The reader should have understood that one. In terms of "sales potential," I would think that it would be a much bigger problem with movies than with books. A serious reader will look up word meanings. Someone watching a movie (in a theater) does not have the luxury of stopping the film to consult a slang dictionary. "You don't need the light of the Lord to read the handwriting on the wall." Copies of Warsaw Tales available through www.new-ink.org

Having spent a great deal of time in the company of Brits, I personally don't have a problem understanding the difference in language usage across the pond and in fact the Brits I know have more difficulty with American-speak. American writing in general seems to me to be a bit more to the point and less concerned with the form and technical use of grammar. It is also laden with slang, which I believe gives it character. On the other hand, I find the British style to be a bit long winded and repetitive. Slang isn't an issue if kept in context. I've heard enough English English to know the meaning of most general slang terms. As for motion pictures, I actually prefer British actors and movies over American in most instances. Visit me http://www.radiodenver.org/