I've commissioned my first translation. This is a new experiment for me, and very exciting!
I decided the German market was the place to start, since it has a well-developed interest in SFF, both locally written and in translation. While I have some knowledge of German (well, the language from hundreds of years ago, anyway), I naturally needed to turn to a professional.
My biggest concern is not just the accuracy of the translation, but the tone of it. I want to make sure it doesn't have any whiff of modern slang to throw the reader out of the story while still presenting itself in living German idiom. That requires a sensitive hand, willing to reset the phrasing as necessary instead of just processing the words mechanically.
I am myself slogging through the translated results with the aid of automated translation (Google Translate) to try and catch any obvious issues with individual words, especially since my English vocabulary is broad and therefore a potential source of confusion. This has the added amusement of showing me German constructions I've never seen before, as when “bandy-legged” becomes “o-beinig” (bones shaped like an “O”, I presume — who knew?)
I anticipate this will be ready by the end of the summer. Now I have to study up on my international marketing skills.
My books are published by Perkunas Press, and every now and then someone asks about the origin of the name “Perkunas”.
In the picture above, he's the guy in the middle: Perkunas, the Baltic god of, well, many things. In this instance, he represents maturity and power, vs age and death on the left, and youth and fertility on the right.
More commonly, Perkunas is shown with a thunderbolt. He is the champion of good, feared by all evil spirits. He rights wrongs, and upholds the balance of the world.
His clear counterpart in the Nordic countries is Thor, and there is a long and tangled relationship between them. The details are buried in lost history and intriguingly suggestive Indo-European etymology.
The root for “oak” in Indo-European is *perkṷu (the “*” indicates a reconstructed form, IE being unattested except by its daughter languages). We see that word reflected in Latin: quercus (oak), and there is a general association of oak trees and lightning in Indo-European mythologies. Gods of oak trees are gods of thunder, and they wield thunderbolts (with emphasis on the pounding aspect of lightning rather than the flash).
In Norse mythology, there are two tantalizingly references to obscure gods: Fjörgyn and Fjörgynn. The former (female) is mentioned briefly as the wife of Odin and mother of Thor, and the second (male) is mentioned as a byname for Odin. Etymologically, Fjörgyn is related to the same Indo-European word and seems to be another form of Perkunas. Lots of speculation exists about what this means in the relationship of the Norse with their Baltic neighbors.
The Chained Adept includes four nations with different cultures and languages, in a full fantasy world (in other words, not just Earth under some other guise).
I may have a shallow linguistics background in a dozen languages (and I do), but that's just not enough to provide suitable linguistic depth for my world. While full-world fantasies are often content to let many conventional earthly things appear unchanged, such as the air we breathe, the horses we ride, the sun in the sky, and the tasty beer, that is more in the nature of not having to explain absolutely every noun in a story to your readers. Those things are thought of as transparent, part of the background against which you set the actual story with its exotic cultures.
That carefully-crafted exotic flavor sours quickly if your characters are named Sam and Susie, or if their language and cultural artifacts are internally inconsistent, or indistinguishable from the usage of their enemies in another country.
We've all read fantasies where the author just threw in a few names from an RPG name generator and called it a day, but I know too much about real languages to stomach that approach and, besides, why stop at personal names? Why not include special terms for the exotic elements of the different cultures, using the appropriate languages, just as we refer to Japanese sushi, or French je ne sais quoi, or Sanskrit karma, all of which describe a cultural item in the native language? Why not make sure all the names in the landscape really are plausibly from the appropriate languages, possibly reflecting a history of border shifting or older populations?
Unless you model your cultures on real-world languages fairly closely, it's easy to find yourself out of your depth in linguistic plausibility.
There's one thing a writer of fiction learns early — don't knock a reader out of your story because of words that mean what you want, but that the character would never have used.
If you're writing a work of contemporary fiction, that usually means matching your dialogue to your characters. The impoverished nine-year-old is not likely to use gold-plated words, except perhaps as a comic gesture.
For non-contemporary fiction, the bigger problem is anachronism. When you remember that “khaki” comes out of British imperial rule in India, you are well-advised to avoid it as a descriptive term in a book on the Crusades, or in a fantasy world where neither Britain nor India have ever existed.
When I read books, I find the worst offenders are phrases based on technology that the author forgot is modern, or at least, too modern for the context. “He's never learned to put on the brakes”, “He's just blowing off steam”, “He's a real live wire, isn't he?” — these are a slap in the reader's face in the wrong context.
This is the third of three posts on how to improve the use of languages in constructed worlds. Part 1, an introduction of the topic for authors, is here. Part 2, an exploration for conlangers (the folks who invent CONstructed LANGuages) of what authors need is here. This final part is addressed to authors of fantasy and science fiction who might want to work with conlangers.
And if you want to see how this all worked out for my individual project, that report is here.
Why should my world building include language specialists?
A convincing world has history and context. It has artifacts from various cultures, some of the names of which came with the objects. It has transient fashions in names, and rulers or gods may be named differently from peasants. It may have non-human characters who don't use human phonemes to communicate.
Language also has history and context. It changes. It reflects the influence of other cultures. It memorializes conquest and trade. Each culture may have its own dialects and languages, possibly several. Characters from different cultures have different fluency in the default language (the one the book is written in).
Even if set in the future of our own quotidian world, the fashion in names will have changed, cultures will continue to mingle in unpredictable ways, new brands and technologies will come into existence and need names, and alien beings may make an appearance.
All of these things need names and convincing snippits of language to convey the appearance of a well-rounded historically-grounded plausibly realistic world.
Why can't I do it myself?
I can fake expertise (to some degree) in geology, biology, ecology, forensics, combat, medicine, physics, etc. And language. So can you. The question is: can we convince everyone?
This is the second of three posts on how to improve the use of languages in constructed worlds. Part 1, an introduction of the topic for authors, is here. This part is addressed to folks who invent CONstructed LANGuages: conlangers. The third part of the series, which provides guidance for authors working with conlangers, is here.
So, you're a linguist and you like to build languages or even entire language families developing over time. Maybe you'll get lucky, and your language will make it into a hit movie or game or TV series — wouldn't it be nice to turn pro and make a little money at it?
Well, I can't help you with winning the lottery for high-visibility media. On the other hand, just about every movie, game, or TV series that uses a constructed language started life in one or more books. And that's what we're going to talk about here, primarily for the fantasy and science fiction genres.
I'm a writer of fantasy and science fiction, and I happen to have an amateur linguistics background, primarily in the form of dead languages: Egyptian hieroglyph, Sanskrit, Greek, Latin, Old Norse, Old Irish, Old English, Middle High German, Middle Welsh — you get the idea. I know a little bit about the subject from the linguistics perspective, and quite a lot from the author perspective.
I'm going to take a stab at describing a potential market for conlangers (inventors of CONstructed LANGuages) and propose some ways of finding work there. The third part of this series takes the authors' perspective on working with conlangers.
I will be defining some basic concepts for conlangers and painting with a broad brush in the interests of keeping the length of this post within some sort of reasonable limit.
This is the first of three posts on how to improve the use of languages in constructed worlds. Part 2, directed to the constructed language community, is here, and part 3, guidance for authors in working with conlangers, is here.
Writers of fantasy and science fiction have many world-building responsibilities. We have to create and populate worlds, landscapes, ecologies, technologies, cultures, history, and all the myriad of things that go with that. Whether our story is set in the near future, in a galaxy far, far away, or in a place that could never exist, our stories are immersed in a background that must seem rich, plausible, and historically deep — like the real world we live in.
Many of us play at amateur world-building with maps we hope are not geologically ridiculous, with alien ecologies we hope make some sort of evolutionary sense, and with interactions between cultures that we trust convey some of the flavor of a fictional reality. We look up a few bits of knowledge, here and there, and get a boost from a friend who can critique starship engines re: physics. All of this is done to make us seem like plausible experts for the purposes of our stories, so that we don't create inanities that pull the readers out of the story (at the very least) and so that we can convey a sense of depth and inevitability and interconnectedness for our story world (at the best).
One of those important threads is language. Most of us are not, unfortunately, historical linguists. In fantasy and science fiction, creating the verisimilitude of cultural depth is a large and fundamental requirement, and most of us are not qualified to fake the linguistic part of that.
We've all read fantasies where the personal names are ridiculous, mixtures of syllables from RPG name generators and ordinary everyday names, with implausible apostrophes and incoherent spellings. These are the equivalent, for some readers, of the lousy book covers we all wince at. Even readers who don't quite understand what the problem is can sense something wrong. And when we start to supply place names, artifacts, and other bits of other languages, the opportunities for maladroit handling just increase. We're not (alas) Tolkien who created entire language families before ever writing the world that used them.
The good news: there are people who do this for fun and profit. The art is called “conlang” (CONstructed LANGuage), and the practitioners are conlangers.