American English and troublesome contractions
I’ve improved so much just by reading your website and IMDB posts. So a heartfelt thank you, sir.
My question is cultural, when it comes to dialogue. I’m from India — Bollywood. Been here, in Los Angeles, for three years. People who’ve read my scripts (Hollywood scripts) like ‘em except the dialogue. After a lot of research, I understand how to write American “lingo”, but….
I have no clue when to use “I’ve” as opposed to “I have,” “You’re” as opposed to “You are.” In recent movie Bad Santa even word “Okay” on subtitle was “‘Kay”.
The usual internet response to this kind of basic question is: “If you don’t know the difference, you shouldn’t write.” Obviously, I disagree. Why? ‘cuz you don’t give up when you’re 23.
I know, most help on this on the internet is towards American writers. But, I was schooled in English, all my life, but a British school. I have better command over the English language than many here, and I hate when they say “We understand, English is your second language,” cuz of my dialogue.
And honest to God, your teachings with upcoming Bollywood writers is Godsend. All my friends there visit your website.
–Raj
Los Angeles
I’m happy to get readers anywhere. According to my web log statistics, India falls at number 16, between the Philippines and Mexico. So to all my Indian readers, welcome.
I share your frustration with the “if you don’t like it, then leave” attitude of far too many Americans, whose concept of internationality begins and ends at the namesake house of pancakes.
There is a difference between “you’re” and “you are” as used in American English. Unlike spoken French, where consonants sort of attach themselves to the nearest convenient word, an American speaker either says “you are” or “you’re.” It’s not just spoken laziness.
For dialogue purposes, here’s my advice:
The contractions we’re talking about are basically pronoun + helper verb (to be, to have, or would). If this contraction precedes another verb, use the contraction. “I’ve told her not to talk with anyone.” “You’ll see what I mean.” “He’d be a fool to listen.” In the context of the scene, the character might speak both words for emphasis or parallel construction: “Believe me, I am regretting it now.” “You would think that, wouldn’t you?”
By the same logic, American English leans towards the n’t verb negation. “I didn’t understand at the time.” “You shouldn’t have come.” There may be instance where you want to emphasize the “not,” such as, “You should not mock the Moccasin Man.” And don’t stack up contractions. “You wouldn’t have known” is fine. “You wouldn’t've known” is fussy and awful.
Only “to be” contracts if there’s not a following verb. So, “I’m sorry.” But not, “I’ve a reservation.”
Don’t use ‘cuz. “Because” is a word that’s naturally shrunken down by the reader. The short version feels like a zit.
“Gotta,” in the sense of “got to” or “have to,” is pretty common in American dialogue — but don’t use it in normal prose. “You’ve gotta be kidding me” or “I gotta get to the store by five” are both a little idiomatic, but read well.
There are probably a few dozen other words that are fine in some circumstances, dreadful in others: gimme, shoulda, kinda, sorta, etc. If in doubt, spell it out.
Hope this helps.
Articles
August 16th, 2004 at 8:46 pm
Whoa. English class all over again. But with a better teacher.
August 17th, 2004 at 12:10 am
My advice: Get a cowriter who can write natural-sounding dialogue. Honestly. Nothing is going to help you think your way through the various nuances and regional dialects of American speech. It’s simply a case of what “sounds” right for that given character at that given moment. It’s not a science, it’s all gut. Then again, if you’re writing sci-fi outer space epics, I suppose capturing American dialects is not as important. Didn’t seem to harm George Lucas’s career
August 17th, 2004 at 5:54 am
I only started English/Writing classes last year. I’m still in the basics. But my whole concept when it comes to screenplays. Is “the more drafts, the merrier”.
With each draft, focus on a different side of the format. Whether is the dialog, scenes, description or even just the spelling.
August 19th, 2004 at 6:24 am
How is there a difference between “you’re” and “you are” in American English? There is a difference between “your” and “you’re” but not “you’re” and “you are” or am I just stupid?
August 19th, 2004 at 10:39 am
Biff, the difference between “you are” and “you’re” isn’t semantic. They mean the same thing. But American speakers tend to use “you’re” much more often, particularly in the situations I pointed out. For the purposes of writing good-sounding dialogue, there really is a difference.
April 6th, 2006 at 3:06 pm
just don’t use your when you mean you are in writing. that’s like nails on a chalkboard for me. its/it is. blekh.
September 17th, 2006 at 7:51 am
What about contractions on nouns or proper names (non possessive)? As in:
His dad’s a rocket scientist. (dad is) Hey Billy, your boy’s here. (boy is) Jill’s not fighting back. (Jill is) John’s wondering where the cake is.(John is)
Contemporary usage guides only speak of “who is” and “it is”, etc. Also, my question is specific to screenwriting, not Ph.D thesis papers.
Thanks!