A Quote by Steven Caple Jr.

I am black, so with my writing and my voice, you get that kind of dialect. — © Steven Caple Jr.
I am black, so with my writing and my voice, you get that kind of dialect.

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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.
My writing is definitely influenced by and speaks to African-Americans because that is who I am. I'm black. I'm a black woman. I'm a black mother, wife, churchgoer, etc. I am the legacy of slavery.
I am lucky to have been gifted with a good ear and the ability to mimic. If I can hear it... I can replicate it, whether it's a dialect or just matching the tone of someones voice.
When you are writing literary writing, you are communicating something subtextual with emotions and poetry. The prose has to have a voice; it's not just typing. It takes a while to get that voice.
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'm accountable - this sounds emo - to black American writing, Southern writing, Southern black American writing, American writing and my people. That's kind of what keeps me accountable.
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.
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.
When I am driving to an audition, I listen to the 'Hamilton: The Musical' soundtrack. It's super inspiring, but also, if I kind of sing-slash-rap along to it, it helps me with my pronunciation and dialect.
There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.
The truth of the matter is, I am a black woman, and I am an actor. I don't try to get caught up in being a black actor; I'm just an actor who is a black woman. It's not about forgetting that you're black, but you don't need to be hammered over the head, either; it just is what it is.
Muses are fickle, and many a writer, peering into the voice, has escaped paralysis by ascribing the creative responsibility to a talisman: a lucky charm, a brand of paper, but most often a writing instrument. Am I writing well? Thank my pen. Am I writing badly? Don't blame me blame my pen. By such displacements does the fearful imagination defend itself.
Writing and giving voice to what I am feeling makes me happy. And supporting people in finding their voice, passion, outrage and resistance. There is nothing better than that.
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.
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.
Writing with voice is writing into which someone has breathed. It has that fluency, rhythm, and liveliness that exist naturally in the speech of most people when they are enjoying a conversation...Writing with real voice has the power to make you pay attention and understand --the words go deep.
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