How to Write Non-Fluent ESL English
Hey, Iâm reading a story at the moment where immigrant characters speak in incredibly broken English. Itâs really jarring. Is there a way to respectfully write characters speaking in broken/non-fluent English without it coming across unrealistic and racist or would you advise just leaving that out of your writing altogether?
This is going to turn into a bit of a guideâŠIâll try not to get too carried away with linguistics stuff :)
Iâd definitely go with ânon-fluentâ over âbroken,â as the term âbrokenâ has quite a negative connotation that also tends to be used in describing stigmatized languages, language varieties, and dialects that are, in fact, used properly according to their own internal rules (AAVE and many Global Englishes, to name a few).Â
Another term you should know for this guide is ESL and L1/L2. Iâll use L1 to refer to first language, L2 for second language, and so onâyou can keep adding numbers. ESL is âEnglish Second Language,â which is pretty self-explanatory, but there is a crucial distinction between that and dominant language. I myself am technically ESL, as I started learning English at around age 3. However, since I live in the US where English is the dominant language, I quickly gained in English proficiency and lost Japanese proficiency. While I still have around middle schooler proficiency in Japanese, English is my dominant language now. An immigrant character may be ESL but completely fluent in English.
It depends on whether or not the characterâs English proficiency is plot relevant. Keep in mind that with writing non-fluent english, you donât want to overload speech with mistakes, or make it incomprehensible. The most you should do is use it to establish character (say a character has just moved overseas, and in the story their English improves over time) or to further plot (maybe there is important info that needs to be communicated and thereâs a barrier). If itâs not relevant, and itâs just in order to establish that theyâre a foreigner, donât do it. Itâs Othering, and there are other ways to establish culture and culture shock. As I said before, not all immigrants have a poor command of their destination countryâs dominant language.Â
There are two components that Iâll address:Â
The types of errors to include, and
First, grammatical features are better to use than phonetic ones. Weâll get to why when we talk about accents, but for now, note that itâs more respectful to use for ESL errors than pronunciation. Here are some examples of grammatical features:Â
Inflections (eg. the attachment of affixes like -s, -ed, etc. to indicate tense, person, number, etc. of a noun or verb)
The presence or absence of certain morphological constructs that appear in some languages but not others (eg. Japanese has topic markers like wa, and English doesnât; English has definite/indefinite articles like the but Japanese doesnât)
If youâre writing an ESL character, ask beta readers & mods on this blog who speak the characterâs L1 to see if the grammatical features of your characterâs ESL speech are consistent with typical English fluency errors. Hereâs an ask I answered on Japanese, and Mod Rune gives a good example on Korean here:Â
A Korean is more likely to try and put someoneâs title behind their last name (e.g. Obama President rather than President Obama, Lestrade Inspector instead of Inspector Lestrade)
Second, we want to avoid in-dialogue portrayals of phonetic differences, which is also called âeye dialect.â Here are some examples from a piece of media many of us are probably familiar with, but I donât think deserves a citation:Â
âWill you please inform zis âAgrid zat ze âorses drink only single-malt whiskey?â
âEh? No, donâ go! Iâve â Iâve never met another one beforeâ
âAnuzzer what, precisely?â
âAnother half-giant, oâ course.â
Both speakers have an accent that is shown within the writing through misspellings of the words theyâre speaking (one is French, one is West Country English). This is a stereotypical (and often hard-to-read) portrayal of accents that Others the speaker and unfairly puts either their dialect differences or their perceived proficiency in English at the forefront of their dialogue. And this is with European characters! Imagine how this would look on people from other parts of the globe.Â
Another major reason why we want to avoid eye dialect is because of the racist history of (pejoratively) writing accents in literature. In early American writing, Black characters were written according to minstrel stereotypes, and with it, a stereotypical way of speaking that was emphasized through eye dialect. Hereâs a thesis that explains the history of eye dialect in American literature to supplement that idea, if you want to learn more. In addition, unless youâre a linguist or dialect coach who is trained in the phonetic inventory of the L1 & speaker tendencies, you tend to perpetuate media stereotypes that may not be reflective of actual speech. This can be very harmful.Â
Hereâs a link on how to describe accents instead, and here are some good perspectives on being a 1st generation immigrant and struggling with accents (how that affects them when theyâre teased for it, and also strategies they have taken to overcome a knowledge gap).Â
Before writing an ESL speakerâs English in a different way from the rest of the cast, consider whether or not this is really needed in your story.
If you do decide to write their speech differently, look at the grammatical features of their L1 and talk to real speakers of that L1 to get a realistic idea.
Thanks for stickinâ with me, folks.Â