Tag Archives: language

Blogging, D.B. Jackson, David B. Coe

Monday Musings: Old Dog, New Trick

It has long been said that canines of a certain age are incapable of mastering new tricks. As a proverbial long-in-the-tooth pooch myself, I thought it might be amusing to test the cliché. And, as it happens, I have a great excuse to do so, which I will explain in just a moment. So, this old dog is doing more than just chase his tail.

Not so very long from now, Nancy and I will be heading to Italy for a few weeks. There, we will spend time in Rome, Venice, Florence, and the Tuscan and Umbrian countrysides. This was a trip we had hoped to take to celebrate big birthdays that we both endured survived celebrated back in 2022/2023. Events intervened. But we are finally going this year, and we are very excited.

In preparation for the trip, we are both learning Italian on our phones using DuoLingo.

Okay, a few things. DuoLingo is hardly a rigorous way to approach learning a language. We know this. There are other ways we might have gone about learning Italian had we more time and fewer things on our collective plate. But I have a deadline, she has work to get done, and we wanted to make this fun, as well as useful. And fun it is.

I took years and years of French when I was in junior high and high school, and I was a competent if unspectacular student of the language. I never really mastered French, but I learned a lot, and could probably have stumbled my way through a simplistic and stilted conversation with a patient, generous native speaker of the language. Sadly, as it turns out, these are somewhat hard to find . . . .

More to the point, though, I never enjoyed French class. This was my own fault. I was lazy, and languages take work and patience and more work. My teachers were, all of them, good at their jobs, although there was one, who I had my sophomore year in high school, who merits detailed mention. I won’t give her name, but I will say this: Our class met right after lunch, and she was reputed to be a bit of a tippler who apparently built up quite a thirst during her morning classes. As a result, after imbibing enjoying her lunch, she would return to the classroom in an alcohol-induced temper, and with her accent rendered nearly impenetrable by her “meal.” For some reason, she liked me, which is good, because otherwise I would have gotten the grade I deserved . . . .

DuoLingo works for me because it gamifies the process. Like a hamster batting at a lever and being given little food pellets by way of reward, I do my language exercises, getting my little dopamine rush from the “ding-ding!”s of my phone and the treasure chests of virtual gems the app gives me periodically. Am I learning Italian? Um . . . sure. I’m picking up words that I might need in restaurants and bars and stores and hotels. I can say, “Salve! Piacere!” which means, “Hello! It’s nice to meet you!” I can say “thanks” and “your welcome,” “good morning” and “good evening,” “I’d like the chicken” and “I need the bathroom.”

No, that’s not much, but Nancy and I are still learning (she is ahead of me, having started earlier), and more to the point (and in all seriousness), we think part of the importance of this is making the effort, not being the infamous “ugly Americans,” who just show up in a country expecting everyone else to speak English to make them comfortable. We want to be able to show that we have cared enough to learn something about the country, including how to make ourselves understood there. Yes, we will absolutely need help from English-speakers in Italy, but we won’t be helpless, and we won’t be assuming it’s the job of every person there to accommodate us.

So that’s my new trick. Not bad, right? Not great, but not bad.

I will close with this story that my father used to love to tell. Years and years ago, he and my mom traveled to Italy, starting their trip in Rome, as Nancy and I will do. My father had picked up a few words of Italian somewhere. From a book? From someone he knew in New York City? From a TV show? Who can say? But he had convinced himself that he could fake his way through a conversation in the language. He and Mom were trying to find some tourist site — a museum or something — and he approached an Italian police officer on the street and asked the man how to find the museum, using his best broken Italian. The officer eyed him for a moment, and then said, in flawless English, “Three blocks down and make a right; you can’t miss it.”

My father and mother laughed. And so did the police officer. Which, ultimately, is the point.

Have a great week.

Blogging, D.B. Jackson, David B. Coe, teaching, Writing

Creative Wednesday: Communicating Our World Building To Our Readers

Tomorrow night, I will be giving a talk on world building here at the university, in a themed residential house devoted to writing. The students from the house, at least those I’ve met so far, are earnest and passionate and serious about learning their craft. I’m looking forward to what I expect will be a fun and engaging evening.

For much of the evening, I will be answering questions and thus allowing the interests and concerns of the students to guide our discussion. I’ll open, however, with remarks on what I believe to be some of the keys to good world building. Some of these things I have covered in posts on this site — creating maps for our worlds, developing magic systems, building cultural and social traditions into our worlds through the creation of holidays, customs, and rites.

But I will also focus on the maintenance of our worlds. The feeding and caring of them, if you will. To my mind, one of the central elements of world building is putting all the work we do into practice.

What do I mean by this?

A couple of things, actually. First, I mean that the most important thing we do as writers who create worlds is convey the details of those worlds to our readers. The creation is the easy part. The hard part is sharing with our readers all of the cool things we’ve done, without resorting to data dumps and “as you know, Bob” moments. We want the communication of our world building to be seamless, invisible. We want the information we share to feel as natural as, well, every other part of our narrative. And so the descriptions and explanations of our worlds need to be doled out in ways that are consistent with point of view. Characters should not explain things, either in conversation or exposition, that they would not need to consider or discuss in that given moment. Put another way, if they have no reason to think or talk about these things other than to meet our needs as writers, then we have resorted to contrivance, and that’s not good writing. We need to be driven not by our narrative purposes, but rather by the exigencies faced by our characters. And so, world building needs to be conveyed in tiny increments, rather than in chunks, and it needs to be communicated, at least in part, through spoken language, with idioms and expressions and aphorisms and simple analogies that carry within them vital information.

Think of all the things we say in the course of everyday conversation that actually might give a stranger information about our world, our country, our faith traditions, our history. Elements of our landscape work their way into our speech as examples of grandeur or vastness or desolation or beauty. The same should be true of landscape features in our worlds. Figures from our history embody nobility, wisdom, generosity, courage, and also deception, betrayal, villainy. So should figures from the histories of our worlds. Tenets of faith become components of our social and cultural values, of our rituals and practices with respect to courtship and familial relationships. Faith should have a similar influence in our created worlds. I can go on, but I think you get the idea. We have to learn to write our worlds into our stories with the subtlety and pervasiveness of our own world’s insinuation into our language. That is how we communicate our world building without bludgeoning our readers with it.

And then the other element of this, the flip side of the same artistic coin, is making absolutely certain that expressions and analogies and all the rest, which might be reflective of our real, modern world, don’t creep into our writing in a way that contaminates our created worlds. We should avoid any figures of speech rooted in our traditions of faith, politics, history, culture, etc. We should avoid temporal anachronisms that might sound too modern for, say, our early-Renaissance-analogous created world. The last thing we wish to do as writers is create a world with painstaking care, only to undermine its credibility with conversations that sound more like something we might overhear in our local Starbucks.

As I say, I only have a short time at the beginning of tomorrow night’s event in which to present what I believe are key world building techniques. But to my mind the elements I have discussed here are so important that even if I had only half as much time, I would still work them in to my remarks.

Best of luck working on your worlds. Keep writing!!