How much of yourself is hidden in the characters in your book?

Freud thought every role in a dream was played by the dreamer, and in a way, that’s the way my books are. The emotions the characters feel are mine since I can only write what I feel, and their personal problems are ones I’ve grappled with. In the writing, though, the characters become more than I ever was as they develop in response to the needs of the story. Kate from A Spark of Heavenly Fire is the most like me, maybe because she was the first character I created.

Here are some other authors’ responses to the question about much of themselves are hidden in their characters. The comments are taken from interviews posted at Pat Bertram Introduces . . .

 

From an interview with A. F. Stewart, Author of Once Upon a Dark and Eerie

I really hope there is very little of me in my characters since many of them tend to be immoral, vicious, bloodthirsty killers, or unwise enough to get themselves into situations where they are maimed or killed. Well, maybe they share my odd sense of humour.

From an interview with Debra Purdy Kong, Author of “The Opposite of Dark”

When I first began writing about Casey several years ago, I think we had more in common than we do now. Like Casey, I wasn’t interested in marriage, I was studying criminology, and my parents were divorced. However, I’ve grown older while Casey’s stayed young so our interests and concerns are quite different. She’s still building her career and attending school, and looking for love. I’ve been there, done that, so I look at her from a different perspective and see almost nothing of myself in her now.

From an interview with Bonnie Toews, Author of “The Consummate Traitor”

There are elements of myself in both heroines, but yet they are stronger than I think I could ever be. The journalist, Lee, lives with my recurring nightmare and my affinity with the Holocaust. I have often said, “I am a Gentile with a Jewish soul.” The pianist, Grace, reflects my more naive, pollyanna side. And yet, the one time I headed into the Rwandan conflict that proved the UN’s promise of “never again” would the world tolerate another genocide to be an outright lie, I went with complete faith, like Grace, that I was protected from harm.

From an interview with J J Dare, Author of False Positive and False World

The aggressive part of my passive/aggressive personality is turned loose in the books. I can let myself go through my characters; I can destroy without regret, lie with a straight face and a cold heart, and generally, get away with murder.

From an interview with Dellani Oakes, Author of Lone Wolf

Matilda is a lot like me in some respects. Her fierce devotion and the way she takes up for those she loves is totally me. Oddly enough, some of the aspects of Wil’s personality come from me as well. Mostly, he and Marc mirror aspects of my husband’s personality.

So, how much of yourself is hidden in the characters in your book?

(If you’d like me to interview you, please check out my author questionnaire http://patbertram.wordpress.com/author-questionnaire/ and follow the instruction.)

What words would you like to leave the world when you are gone?

I’ll be leaving the world my books, which are words enough, but besides that, this is how I’d like the world to see me:  “Pat Bertram has a marvelous ability to write the longest parables in all of literature. She unglues the world as it is perceived and rebuilds it in a wiser and more beautiful way.” — Lazarus Barnhill, author of The Medicine People and Lacey Took a Holiday.

Here are some other authors’ responses to the question of what words they would like to leave the world when they are gone. The comments are taken from interviews posted at Pat Bertram Introduces . . .
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From an interview with Jim Magwood, Author of “The Lesser Evil”

Some goals are so worthy that even to fail is glorious.

From an interview with June Bourgo, Author of Winter’s Captive

Hmm…my writing career has come late in life for me. I have been a late bloomer with many things in my life. So I guess I would say: You’re never too old to follow your dreams and accomplish your goals. I don’t mind getting older, if I have followed my dreams. But I don’t want to get old and have regrets.

From an interview with Charlie Kenmore, author of “Earth Angel”

“There’s been a mistake.”

From an interview with Cynthia Vespia, author of “Demon Hunter: Saga”

Wow, that’s huge. I don’t know about words but I’d like to know that I made the world a better place for somebody just by being there for them. My words have always been “Live Your Dreams” Because life is short and dreams shouldn’t be dashed.

From an interview with Linda Nance, author of Journey Home

I tried…I really did and I did not give up.

So, what words would you like to leave the world when you are gone?

(If you’d like me to interview you, please check out my author questionnaire http://patbertram.wordpress.com/author-questionnaire/ and follow the instruction.)

How long had the idea of your book been developing before you began to write the story?

Light Bringer, my most recent release from Second Wind Publishing, stewed in my brain pan for several years before I actually started to write it. It was the first book I conceived, but I couldn’t figure out who my alien characters were, where they were from, how they traveled here, and why they came, so when other stories captured my imagination, I followed my enthusiasm. In between finishing my various novels, I worked on Light Bringer, trying to develop the idea and research the specifics. If you include my research, which I’d been doing for decades before the story ever entered my mind, you could say the idea for the book had been developing for about thirty years.

Here are some other authors’ responses to the question of how long the idea had been developing before beginning to write their stories. The comments are taken from interviews posted at Pat Bertram Introduces . . .

From an interview with Jerold Last, Author of “The Ambivalent Corpse”

It took a while for me to find the time to sit down and start writing the book. In this case “a while” spanned 12 years. The major challenges for me are finding the time to write and the discipline to edit the dialogue and descriptive passages over and over until things feel right and pass my wife’s critical evaluation. I haven’t needed to spend much time on research as yet, since I’ve lived in the locations that the books have been set in.

From an interview with Guy Harrison, author of “Agents of Change”

For over a year, if you can believe it. I originally wrote Agents of Change as a television pilot script around this time last year. As an aspiring screenwriter for many years, I finally got tired of banging my head against the wall as I attempted to sell the script.

This past October, I finally asked myself “what if I wrote a novel?” I really believed in the television pilot’s concept but knew I needed to rework it for the purposes of a book. It’s darker than the television series would have been. Truth be told, I actually like it a lot better as a novel.

From an interview with Dale Cozort, Author of “Exchange”

For this particular book, almost twenty years. I know that because I came across a notebook with dated entries from when I was in my late teens outlining some of the ideas. That’s unusual for me. Most of my stories go from concept to writing within a year or two. I had the idea for Exchange long before I had the maturity or self-discipline to write it.

From an interview with Stephen Prosapio, Author of “Ghosts of Rosewood Asylum”

Funny in that this story had to “brew” quite a while, Pat. I thought up the rough idea for GHOSTS OF ROSEWOOD ASYLUM after my first novel DREAM WAR didn’t sell to the Big Six publishers. I didn’t quite pitch it right to my agent though, and she suggested I go with another idea I had at the time (a vampire novel). Unfortunately, I got blocked with that idea and came back to the TV Paranormal Investigator angle. Pitching it a second time to my agent went much better. She gave me some great advice. Thus, GHOSTS OF ROSEWOOD ASYLUM (GoRA) was the easiest novel to write thus far. I wrote the first draft within 3 months.

From an interview with Ellis Vidler, Author of “Cold Comfort”

Cold Comfort took about a year to write and five more to revise till I felt it was right. The first one, Haunting Refrain, took eight years to complete. I’m getting better.

From an interview with Joylene Nowell Butler, Author of “Broken but not Dead”

Too long. Someone asked me the other day about my mother and it occurred to me then that the day she died I’d written the first four pages of “Broken but not Dead”. I gave them to her to read, then retired for the night. When I got up the next morning the pages were on the dining room table with spelling corrections and a note that said she liked it very much. I didn’t realize then that she’d passed. That was October 16, 1999. It takes me a long time to write, and I don’t think it’s because I’m slow. I work on so many different projects at the same time and I like to take breaks and distance myself often.

So, How long had the idea of your book been developing before you began to write the story?

(If you’d like me to interview you, please check out my author questionnaire http://patbertram.wordpress.com/author-questionnaire/ and follow the instruction.)

Putting the “Who” in Whodunit

I’m collaborating with several other Second Wind Publishing authors to write a series of novels online on a blog. The first novel is about the death of a little girl. Her body was found in the desert outside a bedroom community that once had been a working ranch, hence the name of the series, Rubicon Ranch.

Collaboration is a bit of an over-statement. Rubicon Ranch is more of a cross between a round robin or campfire tale, with each author taking turns adding to the story, and a role-playing game. We each create and control a POV character, show who s/he is, what relationship s/he has with the deceased, and why s/he might want him dead.

I have it easy — my character, Melanie Gray, is a photographer/writer who wanders the desert taking photos for the coffee table books she used to write with her dead husband. (He wasn’t dead when they were working together, of course.) He died in a one-car accident while texting his mistress, though there are suspicious circumstances leading investigators to think that perhaps he was killed. Melanie has a talent for finding strange things in the desert, such as the child’s body stuffed in an abandoned television console in the first book, and the scattered body parts that will be found in the second book. This is all that leads the sheriff to suspect her.

The other characters, however, have to simultaneously prove that they are the murderer, yet also have a plausible explanation for why they acted guilty if they weren’t the murderer. (That’s because we don’t know whodunit until all the end of the book. So not only do readers of the ongoing story not know who the villain is, neither do we.)

In the first book, the authors solved the problem of simultaneously setting their characters up to be murderers while allowing for the possibility that they were innocent by giving their characters strange characteristics, such as sleepwalking, to keep the characters themselves from knowing if they were the killer.

In the second book that we are in the process of organizing, there is no way the killer can be unaware of having killed the victim. Even if by chance the character killed in some sort of fugue state, the character will still be faced with a dead body, which he or she will cut in small pieces and distribute it around the desert.

So how do you write a character from a strict third person limited point of view, from inside the character’s head, proving that your character is the killer, while at the same time giving yourself an out if the character turns out to be innocent?

Well . . . If your character has killed before, you can have him/her worrying about if the sheriff will find out what s/he did, without being specific as to which crime s/he is wondering about. You can have your character act guilty — perhaps desperately trying to cover something up. You can have him/her try to pin the murder on someone else, offering assistance to the sheriff, which would make your character seem guilty, but in the end (if your character is not the killer) have an alternate explanation. You can be hiding something in your house that can be construed as your having Morris’s body that you’re cutting up bit by bit. I’m sure you can come up with better ideas than these, but you get the idea.

I’m looking forward to seeing what the other authors come up with.

Meantime, if you haven’t checked out Rubicon Ranch, and wish do so, click here: Rubicon Ranch.

How Do You Discover the Books You Want to Read?

Two-and-a-half-years ago, I took an informal poll to find out how people discover new authors. I posted the following on discussion boards on both Goodreads and Facebook:

It seems as if there are as many ways of discovering books as there are readers, but I’m curious as to how you choose the books you want to read. Do you go by reviews? By recommendations from friends? Because you’re familiar with other works by the author? Do you ever read a book because of an ad you saw? Because of a blog article? Because of a mention on a website such as Goodreads? Do you cruise book stores, libraries, or online sites like Amazon? Do you find them some way I haven’t mentioned, such as gifts, perhaps?

Admittedly, the questions were loaded, but I still got an interesting and probably quite accurate overview:

Favorite authors or previously read authors: 36
Word of mouth: 26
Blog reviews/Book websites: 26
Goodreads/Shelfari: 24
Local bookstores: 21
Amazon/B&N/other online stores: 15
Library: 13
Publisher sites/newsletters: 5
Social networking sites like Facebook: 5
Book Clubs: 5
Author appearances/writing conferences: 5
NY Times bestseller list: 5
Offline reviews: 5
Yard sales/second hand bookstores: 4
Advertising: 3
Saw the movie: 3
Oprah: 1
Free downloads: 1
Gifts: 1

Recently, I posed the questions and got similar responses (though from a much smaller group):

books by favorite authors: 8
recommendations from friends: 5
browsing in bookstores: 4
libraries: 2
imprints (the trade name under which the book is published): 1
newspaper reviews: 1
blog reviews:1
recommendations from Amazon: 1
book clubs: 1

So, even with small independent publishing houses springing up like new forest growth, and self-published books proliferating like elm tree seeds, the means of finding books are still the same. That means, if you are an author looking for a readership, you need to be everyone’s favorite author and have your readers recommend you. An almost impossible task when most people already have their favorite authors.

What about you? How do you discover the books you want to read? Or rather where. (A lot of people said they found books to read by the front cover or the blurb on the back, but I’m more curious as to where they saw the cover.)

How To Keep From Having Too Much Exposition in Your Novel

In an online discussion today, a writer asked what was the best way to keep from having too much exposition in your fiction, and how to insert it if necessary. Apparently, her character spends a lot of time alone, and she needed to know how to insert exposition during the long scenes when he is by himself.

That is a tough situation. Characters alone are hard to write. They need someone to butt heads with, they need to show readers who they are through comparison or contrast with other characters, and they need allies and enemies. When a character is around others, tension is inevitable, so conflict comes naturally. When a character is by himself, he has perhaps less interesting conflicts — the environment, his own nature, personal disasters. A lot of books are based on such non-human antagonists or inner demons, but readers like to see characters acting and reacting with other characters.

In scenes with only one character, it’s best to keep exposition to a bare minimum and focus on the action. One character alone for long periods of time without another character to butt heads with gets boring for readers, and exposition only exacerbates the problem. Feed the exposition into the story bit by bit as you need it, and refrain from long exposition dumps.

My novel Light Bringer, available from Second Wind Pubishing, is based on myth, both Sumerian myths and modern conspiracy theories, and all of that background information had to be presented to show the sweep of history. I created a discussion group among several colorful characters, each with his or her own take on the situation, then used the various conspiracy theories to help create the the characters and show their differences, which became a lively and painless way of dealing with the exposition. In addition, I ended up with a cast of ready-made characters I could pull from whenever I needed a minor character to fulfill a role.

The best way to insert exposition, though, is to make one character desperate to get the information, that way readers will want it, too. I used that technique in A Spark of Heavenly Fire, also available from Second Wind Publishing. The thriller required a lot of background information about biological warfare. I made one character desperate to hear the information, but I parceled it out bit by bit to make his desperation for the truth grow stronger while he became increasingly sickened by what he learned.

But you can’t use that particular technique with a single character, unless perhaps he is ransacking someone’s files, all the while fearful of being discovered. With a single character, it’s best to keep with action. Exposition slows the pace of the book, so does a single character unless he is dealing with a lot of external conflict.

Exposition can also be used to give readers a breather between fast-paced scenes, but even so, information dumps seldom add to the excitement of a story, so they have to be used sparingly. Exposition is best spread throughout a book, feeding readers only that which they need to know in order to understand the current scene.

A common mistake beginning writers make is to think that readers need to know the entire backstory before they can get involved with the characters, and so first chapters are generally exposition-heavy. I have a great fix for that — leave everything as is until the book is completely finished, then cut out the first chapter. (Which is what I did for A Spark of Heavenly Fire.) You will be amazed at how much of that first information dump is spread delicately throughout the book when needed, making the first chapter redundant. Of course, if there is a bit of necessary information in the deleted chapter that does not appear in the remaining chapters, it’s easy enough to find the proper place to insert it. The first chapter of a book should begin in the middle of the action, not before the action even begins. And speaking of first chapters, please, don’t ever use flashbacks in the opening scenes. Establish your  story, and then, if necessary, use flashbacks judiciously.  By definition, flashbacks lack the immediacy of present action.

Is “No Promotion” Really so Hard to Understand?

I moderate a writing discussion group on Facebook where we’ve banned any kind of promotion. The point is to develop a sense of camaraderie among members, and to share writing tips, techniques, friendship. It’s supposed to be a destination, a fun place to hang out, rather than a bulletin board with links to other sites. It’s almost impossible to get people to understand the benefits of such a group. The following correspondence I had with a Facebook Friend (now a former Facebook friend) is a graphic example. FBF joined the group on December 18, participated in a few discussions, and then sent me an interview for my interview blog.

December 20 — FBF: Did you receive my interview? I felt really good about my answers. What did you think?

December 23 — PB: Yes, I received it. Haven’t read it yet, but I did see it. I’ll read it when I format it for the site. It will be perhaps in a week.

December 23 — FBF: Yeah. You answered me on a post in the group so I already knew. I’m very excited. Thank you for doing this for me. You are amazing. Don’t let those promo people bug you. They obviously lack the social skills necessary to make friends and understand what professional respect means.

December 23 — PB: Actually, the one that bothered me the most was the guy who posted on the wall that what he hated was my whining about no promo. Before you joined, all anyone posted was promo, and some of the members rebelled. I was pleased because I’d just about decided to dismantle the whole thing. I think we’re developing a great group. Thank you for joining and for participating in our discussions.

December 23 — FBF: Your welcome. I’ve already gotten my book on two websites. An interview and two reviews in progress. And I never promoted my book once! So thank you.

December 23 — PB: See, that’s the whole point. Get to know people, and let them promote your book! And you’re welcome. I am glad to do what I can.

December 31 — PB: Hi. I posted your interview. Thank you! Sorry it took so long. Let me know if you need me to make any changes.

January 1 — FBF: It’s great. Thank you.

January 10 — FBF (in response to the question what three words describe your writing?): Comical, dialogue, needs-improvement. But that’s why I’m here.

February 8 — FBF: I posted a promo (a book trailer) on the group wall yesterday for a good writer, and it was removed. I’ve had enough. I’m outa here. [And then he used a lot of not-so-nice words.]

Building Better Plots

In Building Better Plots, Robert Kernen provides a quick quiz to help you decide if your subject matter is strong enough to sustain a novel. I thought these questions were interesting enough to pass along:

Does your concept create obstacles that effectively challenge the characters? If so, which specific elements will be the source of that challenge?

Does your concept provide a strong backdrop for exploring the strengths and limitations and psychology of your characters? What specific elements does the plot have that provide vivid comparisons and contrasts that will delineate your character in intriguing ways?

Does your concept provide a strong environment for the messages and themes you want to explore? What metaphors and motifs grown naturally out of that environment will illuminate those themes and messages?

Does your concept provide any realistic hooks that will make it easy for the audience to relate to? What elements will they relate to? Even if you are writing science fiction or fantasy, you will want to give your audience some element to which they can connect their sympathy.

Does your concept provide enough tension to hold the audience’s interest? What are those sources of tension?

The questions seem a bit complicated to help create a story — by the time you’ve answered them all, you’d be sick of the story — but it seems they would be ideal as a tool to help clarify a muddy middle.

A Cook’s Tour of the English Language by Rod Marsden — Part III

A few days ago in one of my Facebook discussion groups, Rod Marsden, author of Disco Evil: Dead Man’s Stand and Ghost Dance left a comment about The Canterbury Tales and the origin of language that stunned me with its depth and beauty. Facebook seems to pride itself on unwitty witticisms, too-cute aphorisms, and political opinionating all mixed together in a big pot of self-aggrandizement, and the remark struck me as being too important to be swallowed up by that voracious maw. I asked Rod if he’d like to expand on his comment and let me post it here. He sent me an awesome tribute to the English language that I’ve posted in three parts. I hope you will be as fascinated with Marsden’s tour of the English language as I am. Click here for: A Cook’s Tour of the English Language by Rod Marsden — Part I and A Cook’s Tour of the English Language by Rod Marsden — Part II

A Cook’s Tour of the English Language — Part III
by Rod Marsden

In Australia, there has been continual influence, both English and American, upon the Australian version of the English language. As with the USA, the separation in time and space from England also meant that Australians would and indeed did develop their own style of English. Back in the late 19th Century and early 20th Century, London cockney could be heard in the streets of Sydney along with the rhyming slang familiar to Londoners.  Example: Apple and pears, stairs, trouble and strife, wife. A man might say that he’s going up the apples and pears and those in the know would take it he was about to go up the stairs. A man might say I’m having lunch with my trouble and strife and those in the know would take it he was going to have lunch with his wife. By the 1920s, however, cockney and rhyming slang was considered old fashioned and was on the way out. Hence when you have an American playing the role of an Australian in a show like MASH, which is set in the 1950s, it is somewhat laughable when the fellow comes out with this very English but no longer very Australian cockney accent.

Terms common in Australia but perhaps not common elsewhere are Bloke (man), Sheila (woman), Mate (friend), Cobber (friend you work with) and Bludger (someone who relies on other people to do the work). Words that had to be added to describe animals not found elsewhere in the world include emu, koala and platypus. These words come from the Aborigines, the Native Australians. In Australia a ranch is a station and a cowboy is a jackaroo. A cowgirl, incidentally, is a jillaroo. Someone from England is still often referred to as a Pommy. Australia has its own dictionary, the Macquarie dictionary.

My grandfather was born in England and as a young man came to Queensland, Australia. He got a job on a cattle station as a jackaroo. He may in fact have been the Pommy Jackaroo of legend. In any event, when the First World War broke out, he had the choice of going back home to join up or going with his mates. He ended up joining the Australian light horse. It should be noted that the only successful cavalry charge I know of during the First World War was made by the Australian light horse at Bathsheba.

The term Pommy I believe is an old cricket term and in my mind has always been connected with the Ashes. The Ashes has quite a history. It was once theorized by an English critic that if ever an Australian team of cricketers beat a British team it would spell the death of cricket. When this did happen there was an obituary for Cricket in an English newspaper and the leader of the British team burnt part of the equipment used in the game  and put the ashes in a little funeral urn. We’re been playing against the British ever since for these ashes.

The idea of fair play is very much entrenched in the game of cricket to the extent where one can say ‘it’s not cricket’ to mean that something is unfair.

There is the theory that, because of television and computers, English throughout the world will become more and more standardized. This may happen and indeed it could be happening but I can’t see such a thing being completed in the near future.

The term Cook’s tour came about in the 19th Century but works today in referring to travel that is somewhat short and limited. Obviously, I could go into a lot more detail about the English language and how it has developed and is developing in various countries. I could write several books and not tell the complete story because, truth to tell, such a project will never be complete until the language dies and I can’t see that happening in the near future. No doubt there will be future efforts to purify the language which will inevitably fail. The language gets its strength from growth; therefore, trying to purify the language is not a good idea in any event.

I hope you have enjoyed the read.

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Rod Marsden has a BA in Liberal Studies, a Graduate Diploma in Education and a Master of Arts in Professional Writing. Rod’s short stories have been published in Australia (Small Suburban Crimes anthology), New Zealand (Australian Animals are Smarter than Jack 2 anthology), England (Voyage magazine), Russia (Fellow Traveler magazine) and the USA (Cats Do it Better than People anthology, Night to Dawn magazine, Detective Mystery Stories magazine). Then there is the more recent NTD book, Undead Reb Down Under Tales.

Marsden lives on the south coast of NSW, Australia.
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Click here for: A Cook’s Tour of the English Language by Rod Marsden — Part I

Click here for: A Cook’s Tour of the English Language by Rod Marsden — Part II

A Cook’s Tour of the English Language by Rod Marsden — Part II

A few days ago in one of my Facebook discussion groups, Rod Marsden, author of Disco Evil: Dead Man’s Stand and Ghost Dance left a comment about The Canterbury Tales and the origin of language that stunned me with its depth and beauty. Facebook seems to pride itself on unwitty witticisms, too-cute aphorisms, and political opinionating all mixed together in a big pot of self-aggrandizement, and the remark struck me as being too important to be swallowed up by that voracious maw. I asked Rod if he’d like to expand on his comment and let me post it here. He sent me an awesome tribute to the English language that I started posting yesterday, and will finish posting tomorrow. I hope you will be as fascinated with Marsden’s tour of the English language as I am. Click here for: A Cook’s Tour of the English Language by Rod Marsden — Part I

A Cook’s Tour of the English Language — Part II
by Rod Marsden

In places like Boston there were attempts to keep the emerging American version of the English language pure. As in England, such attempts were doomed to failure. The USA expanded and, with every new territory and then state added to the union, came new ideas and new words. How, for example, can you keep Spanish out of the language when California and New Mexico are part of the USA? How can you lock the door on further French influence when cities such as New Orleans are in the country and you have some French influence floating down the Hudson from Canada, your northern neighbour? Was the adoption of foreign words into the language democracy in action? There were those who would make this argument. It was certainly made in England in the 19th Century when English scholars were examining their language.

Some of the words that came from Spanish into English from the cattle trade are rodeo, lasso and hacienda. I believe Mustang is also Spanish. The guitar has its origins in Spain. San Francisco is a city named after a Spanish saint. Los Angeles is Spanish and has the meaning of city of Angels. Did the Spanish language add a certain type of richness to the American version of English? I would think so.

There had to be a definitive dictionary for the USA. It came out of a small blue book written by Webster in the 19th Century that could be purchased cheaply by anyone in the USA. Earlier attempts had been made but it was Webster who had the right handle on what the USA was about and what would work best in the USA. As the work expanded, certain areas of English were modernized to make the written language more palatable for everyone. Colour, for example, became color. Defence became defense. Centre became center. Gaol became jail. It was very much a case of making the written language more phonetic. This of course was not always easy or even possible. For example, in Davy Crockett’s part of the USA, thanks to Scottish and perhaps German influence, the word bear is actually pronounced bar. Compromises then had to be made.

Also words used by Americans could have a different meaning to the way they were used in England. Store, for example, was similar in meaning to warehouse to the English. In the USA store came to mean shop. Today, in Australia, you can use either the word shop or store to mean basically the same thing.

The gold rush and the push west in the 19th Century added lots of words to American English. Red-neck, for example, originally meant the migrants who could not afford passage on riverboats and so travelled by raft. They got red necks because they didn’t have much protection from the sun and when they turned to farming they got red necks in the fields they ploughed as well. ‘Slap leather’ was a call to fight a duel with guns. ‘Honest Injun’ as well as ‘you speak with forked tongue’ either came directly out of the west or the eastern chap books connected with the west. ‘Get along little doggie’ came from the cattle trade. Cowboys were once nothing more than common workers but all that was changed with eastern publications and then Hollywood cinematography. Stories about gunfighters like Billie the Kid and Wyatt Earp also had their influence on the language. Slowly but surely Native American words also made it into American English. There were words such as wampum and wigwam.

By the end of the 19th Century new ways of working with steel were developed in the USA. This led to building being constructed first in Chicago and then in New York that could literally scrape the sky. Yes, the skyscraper (an American term) was born. From the mid-19th Century onwards there was a great influx of migrants from Europe into the USA. There was the Irish escaping famine. There were European Jews fleeing persecution from countries such as Russia. There were also the Italians and the Chinese.

During the American Civil War (1861-1865) there were Irish migrants in American army uniforms. Some fought for the north and others for the south. At times a regiment made up of Irish in blue would be lined up against a regiment of Irish in grey. Regardless, the Irish whether protestant or Catholic (both came to the USA) have had a great influence on American life, on the American belief in liberty and justice and on the language.

In 1917 an American writer of Irish Catholic descent by the name of George M. Cohan wrote a song called ‘Over There’. It is an inspirational piece known the world over. It was sung in both World Wars and is why many people throughout the world still prefer to refer to Americans as Yanks

The words:

Over there, over there,
Send the word, send the word over there
That the Yanks are coming, the Yanks are coming
The drums rum-tumming everywhere.
So prepare, say a prayer,
Send the word, send the word to beware –
We’ll be over, we’re coming over,
And we won’t come back till it’s over, over there.

As for the Jewish migrants that settled in the USA, their influence on the language and those of their descendants has been most profound. Entertainers such as the Marx Brothers brought a form of craziness and also a form of sophistication in comedy to first the stage and then the screen. The actor who first played Spock in Star Trek, Leonard Nimoy, is of a Jewish American background. The Vulcan salute that comes with the words ‘Live long and prosper’ comes out of his Jewish this background. When people think of peace they often think of that Vulcan salute with the thought that it is only logical to do so. Other Jewish Americas include Jerry Lewis, Barbara Streisand and Jack Benny (In his career he pretended to be a skinflint but in real life he was a very kind and generous fellow). Here perhaps I should note that skinflint is a purely American term.

The Italians that settled in the USA certainly did their bit to transform the language. They possibly began with the American diet. The introduced the word pizza and also the food. I don’t know why but Americans have this tendency to call a pizza a pizza pie. In Australia, where there has also been Italian influence, we just call a pizza a pizza. Where does pie come into the equation? I have no idea. In any event, there were forms of Italian coffee such as espresso and cappuccino that became popular and whose names were added to the American dictionary.  Famous Italian Americans include Liza Minnelli and Jimmy Durante who is better known as Shnozzles Durante because of his big shnozzola (nose).  Possibly his most famous line was: “If it ain’t broke, don’t fix it.”

It was the Chinese migrants that often did the dirty and dangerous jobs in the building of the American railway system in the 19th Century. Chinese style food came with the Chinese and so did Chinese names such as Chow Mein for it. The Chinese also brought with them the idea of fireworks for America’s Fourth of July celebrations.

In the 20th Century, thanks to radio and movies then television, both American and British style English have expanded their influence and, as a consequence, been influenced by the rest of the world. New technical terms have arisen for new technical devices. Meanwhile old terms have been put to new use. The term computer was around before the 20th Century but our ideas of what a computer is and what it is capable of doing has grown enormously. Laptop is very much a late 20th Century and early 21st Century term referring to something that didn’t exist in previous centuries. The space race with the Russians in the 20th Century brought about a revolution in thought and in word usage. Many people use aluminium or what the Americans call aluminum cookware. Non-stick pans came out of NASA experimentation.

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Rod Marsden has a BA in Liberal Studies, a Graduate Diploma in Education and a Master of Arts in Professional Writing. Rod’s short stories have been published in Australia (Small Suburban Crimes anthology), New Zealand (Australian Animals are Smarter than Jack 2 anthology), England (Voyage magazine), Russia (Fellow Traveler magazine) and the USA (Cats Do it Better than People anthology, Night to Dawn magazine, Detective Mystery Stories magazine). Then there is the more recent NTD book, Undead Reb Down Under Tales.

Marsden lives on the south coast of NSW, Australia.
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Click here for: A Cook’s Tour of the English Language by Rod Marsden — Part I

Click here for: A Cook’s Tour of the English Language by Rod Marsden — Part III