A Quote by Flannery O'Connor
When using dialect, use it lightly. A dialect word here and there is enough. All you want to do is suggest. Never let it call attention to itself.
Related Quotes
Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.
I had a really fantastic dialect coach that I worked very well with, and I was constantly surprised by the different intonations that the Russian dialect has.
If someone said, I want to translate your novel into Igbo, I would say, Go ahead. But when I write in the Igbo language, I write my own dialect. I write some poetry in that dialect.
I don't have a Jersey dialect. So when I approached the singing, I approached it the same way as an actor I approach a dialect, just as a singer.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
Dialect was my biggest fear. So, I spent a long time working with dialect coaches just trying to get American down. I think it's very important and very easy to misinterpret.
I was too kind of brave and proud to want a dialect coach because I thought that showed weakness in my armor. But then you just learn it's a more efficient way of doing it. A dialect coach is really important because it takes a certain technical responsibility off your shoulders.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to. It has a much more percussive rhythm to it.
I had a dialect coach to get an American accent, and then another dialect coach to come off it a bit. There is something deep and mysterious in the voice when it isn't too high-pitched American.
When I speak in Christian terms or Buddhist terms I'm simply selecting for the moment a dialect. Christian words for me represent the comforting vocabulary of the place I came from hometown voices saying more than the language itself can convey about how welcome and safe I am what the expectations are and where to find food. Buddhist words come from another dialect from the people over the mountain. I've become pretty fluent in Buddhist it helps me to see my home country differently but it will never be speech I can feel completely at home in.
If you are playing a Hispanic character who has to speak in dialect or in an accent, nail that dialect or accent. When I hear a character that's supposed to be Cuban speaking with a Mexican accent or vice versa, it grates on me and immediately pulls me out of the story.
When you use a dialect, you worry that the people you're imitating will think you're making fun of them.
When you get to speak Irish, you become more at one with yourself, you kind of have a spark when you use it, and I think it's a great dialect.
Each culture might lend its own dialect, but above all that is the language of music itself, and it doesn't care about politics or boundaries.
One of the interesting things about the 'Decameron' itself was it was written in the Florentine dialect as opposed to the Latin vernacular - and that was mainly to have it be a piece of literature for the people as supposed to some kind of highfalutin' canon.
'Harat' is actually - it's a Lebanese dialect word. It comes from 'the mapmaker,' somebody who makes a map. And it basically means somebody who tells fibs or exaggerate tales a little bit.
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