A Quote by Chinua Achebe
I think dialects should be left alone. People should write in whatever dialect they feel they want to write. In the fullness of time, these dialects will sort themselves out.
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I'm from Connecticut, and we don't have any dialects. Well, I don't think we have any dialects, and yeah, it's very complex. That Rhode Island/Massachusetts New England region is arguably the hardest dialect to nail.
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 think, for me, there's The Book I Should Write and The Book I Wanted to Write - and they weren't the same book. The Book I Should Write should be realistic, since I studied English Lit. It should be cultural. It should reflect where I am today. The Book I Wanted to Write would probably include flying women, magic, and all of that.
To that class we may leave it to refine the vernacular dialects of the country, to enrich those dialects with terms of science borrowed from the Western nomenclature, and to render them by degrees fit vehicles for conveying knowledge to the great mass of the population.
Personally, I think that children should be left alone, they should be given an opportunity to grow up, to become aware of themselves and decide themselves who they are: men or women, if they want to have a traditional or homosexual marriage.
If I'm going to be honest with you, when I trained at school, I feel like I was training to be a chameleon. I want to be that versatile actor who can do anything - that's why you learn fifty different dialects, you do Shakespeare, you do commedia, you do it all so that if any job comes your way, you should be able to do it.
I like playing with languages and dialects as we have so many in India. Adding a dialect just makes the dialogues more colorful.
You should write songs about what you feel, but you can't write in such a way like it's a diary entry. You should write it in a way that people understand in their lives.
I love accents in general. I'm obsessed with dialects, and I had to write a whole movie about it called 'In a World...'
The trap into which all writers have, will, or should fall into, of writing The Great American Watchamacallit, is such an uncluttered and inviting one that from time to time I'm sure even the greatest have to pull themselves up short by the Shift key to remind themselves that it is story first that they should write.
Language is so specific to art, all the way to the past in China. Previously, people were not allowed to include various regional dialects in their films, but in every film that I've made, I've maintained the regional dialects of the characters because I wanted to make films that were locally specific.
I love to write and I assure you I write regularly... But I write for myself, for my own pleasure. And I want to be left alone to do it.
The contribution of West African languages to Ebonics is absolutely infinitesimal. What it actually is is a very interesting hybrid of regional dialects of Great Britain that slaves in America were exposed to because they often worked alongside the indentured servants who spoke those dialects that we often learn about in school.
I think theatre is a democratic act and I think writing a play is not a democratic act. I think we should give writers more leeway and space to write the thing they want to write, and then we should produce the play, multiple times, and let them re-write it.
I feel you should be able to write about whatever you want.
When people say they write for themselves, that's probably what they do. I will admit that I don't write for myself; I write to be read. I've got the reader in my mind all the time.
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