After completing my day at The Ex (see Back to visit the Ex), I still had to get home and because the weather was so cool, if grey, I decided to wander along Toronto’s waterfront.
My annual pilgrimage to the Canadian National Exhibition, an end-of-summer ritual in Toronto. Sadly, The Ex is our national fair that seems to get smaller and smaller each year.
The grand old lady has definitely seen better days, but she still entertains the crowds.
“That which we call a rose, would by any other name, smell…”
William Shakespeare, Bad Line Break theatre
As many of you know (or have quickly surmised), I am Canadian, and more specifically, Anglo Canadian. Unto itself, that’s a pretty cushy thing to be in this country.
In choosing to live as a writer, however, I added an otherwise unnecessary twist to my life—I forced myself to learn English as a second language.
Wait. Didn’t you just self-identify as an English-speaking Canadian?
Yes, I did. But I’m a Canadian English-speaking Canadian.
And one of the first things you realize when you become a Canadian writer is that you will probably starve for lack of work.
Now, I’m not knocking Canadian writing, whether fiction, for film and television, journalism, what have you. It is easily some of the most beautiful writing available in the English world. But it is often written to (if not for) an incredibly small market, and opportunities to succeed are therefore often few and far between.
If feels like 8 writers encompass the entire Canadian television landscape. And name a Canadian movie. (I’ll wait.)
Okay, now name one not directed by David Cronenberg or Denys Arcand.
I was once offered a job as the Editor of a Canadian biotech magazine—yes, I used to be even more nerdy—for $30kpa. And yet, already on my resume was a job working for an American biotech mag that started around $65kpa.
Bottom line is thank goodness for my passion to write, because my passion for money has taken a beating.
(Side note: This was a choice I made and for which I take full responsibility. I don’t mean this to be a “life is so unfair” rant.)
What this has meant, therefore, is that to make it as a writer, I have had to learn English as a second language. In this case, American English.
Recently, the BBC published a short article that tried to explain Canadian English within the context of its British and American counterparts. Rightly, the author noted that the differences were more than a matter of spelling (e.g., centre v center; honor v honour). Rather, the differences also manifested in idioms, speech patterns and word choice.
As with most Canadians, I had a bit of a leg up on learning American as our proximity to the border (mere kilometres and even fewer miles) means we are inundated daily by American film and television programming. But I also had the additional benefit of having been married to an American, and a Southerner to boot (more on “boots” later).
Where I would recommend taking the 401 across north Toronto, Leela would suggest taking 66 from Fairfax into Washington. Luckily, we were both practical enough to set aside arguments about whether we needed to go to hospital or the hospital.
All this to say that although the differences between Canadian English and American English can be subtle, they can easily explode before the eyes of the unsuspecting.
Writing for an American biotech magazine and working with American editors was something of an ESL boot camp. And over the intervening 15 years, I like to think I honed my American skills to the point where you suspect I am from Minnesota or Western New York (hello, North Tonawanda).
In fact, I’m going to rely heavily on my multi-Angloism as most of my writing, whether for money or in my screen- and novel writing, is aimed at American audiences. And although my primary goal remains writing the best story, my secondary goal is writing it in the most innocuous way. I don’t want my writing to “read” Canadian.
Truth be told, I don’t want my writing per se to be noticeable at all. If it is, I’ve taken the reader out of the story.
This is not to say that I want my stories to be bland, but rather that I want all of the art to be in the story itself, rather than the more mechanical aspects.
In my Canadian stories (so far a sitcom pilot and screenplay), which are set in Canada, involve Canadians and target Canadian audiences, I write Canadian. For pretty much everything else, I write American.
Should I start targeting British audiences, then I’ll spend more time learning British English, and make fewer spelling changes.
In the meantime, I’ll continue to bounce back and forth between the multiple Englishes like a character out of Monty Python.
What’s it aboot?
Anyone can make fun of how Canadians communicate (or don’t). Goodness knows Canadians do. But I have to admit that I struggle with the whole “oot and aboot” phrasing that American audiences in particular seem to see as a Canadian phrase.
It’s not that I think we pronounce these words correctly so much as we don’t say “oot”. Rather, we say “oat”.
As I mentioned, I was married to a Southerner, and one day, we had a lengthy conversation about the word “South”. Try as she might, Leela could not get me to pronounce the “ou” without it taking on a surreal emphasis akin to “owwwwwww”.
Instead, I would say “Soath”. And instead of “about”, I would say “aboat”. And as I made a point of listening closely to Anglo-Canadians speak, I never heard a single one say “aboot”. It was always “aboat”.
That being stated, I will totally cop to “eh”. It’s us. End of story.
I might have gone with another play, but I like the message. Something aspirational for every writer.
Originally posted on Screenwriter On Location:
There is no doubt that William Shakespeare’s Hamlet continues to be one of the most intriguing and highly analyzed plays ever written, and the protagonist Hamlet is arguably one of the greatest dramatic characters ever created. From the moment this disconsolate prince enters the scene the audience/reader is made acutely aware of his conflicted soul. This tragic hero is a walking dichotomy that provokes every sort of human emotion, and
sets the stage for the revengeful plot to be carried out. Shakespeare uses the power of language to not only control the plot, but also to establish the storyline, reveal Hamlet’s varied complex character flaws, control fate, establish irony, and to govern the action of the play. Shakespeare brilliantly uses this character to hold the weight of the play with his dialogue, and reveal a vivid display of universal conflict within humanity.
Hamlet’s distress over his fathers death, his…
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As a literal child of the 60s, I am barely old enough to remember the television series The Man from UNCLE, yet another show centred on Cold-War America’s fascination with the spy world. While Bond, Flint and Helm were doing their thing in theatres, The Men were joined by the likes of The Saint, I Spy, The Persuaders and Get Smart.
Unfortunately, whereas I can quote lines from Get Smart (don’t judge me) and have fond memories of The Saint, things are a little foggier when it comes to The Man from UNCLE. Thus, when I took in the newly released movie, my mind was open.
Essentially, an origin story for the UNCLE organization—United Network Command for Law and Enforcement—the movie introduces us to the two men on which the series hinged, American spy Napoleon Solo and Soviet spy Illya Kuryakin, and how they are forced to work as a team despite their complete distrust both of each other and of their own governments.
I won’t go into great detail about the plot as it really doesn’t matter—much as the plot of a typical Bond flick doesn’t matter. The only reason for the central plot conflict is to force these two guys together and watch them play “whose dick is bigger.” Really. I mean it.
Over a two hour span, I think there was maybe 30 minutes of actual story. The rest of the time was spent in a great variety of chase scenes, some of which were quite funny, or watching Solo (Henry Cavill) and Kuryakin (Armie Hammer) argue over fashion, spy gadgets and how badly the Soviet needs to get laid.
All of the friends who saw this movie with me had issues with this. The story wasn’t particularly engrossing and they felt like director Guy Ritchie had simply provided a light dessert; enjoyable in the moment, but offering little satisfaction.
To some extent, I agree with them. I am a fan of Ritchie’s earlier efforts with the Sherlock Holmes movies (Robert Downey, Jr., Jude Law). Here, the stories were quite rich and complicated, as one would hope with a Sherlock Holmes tale. Using this barometer, The Man from UNCLE definitely failed.
But to some extent, I think my friends missed the point (but then, I would). I don’t think Ritchie was going so much for a story that you might find in the most recent Bond films, filled with character complexities and inner conflicts, longer story arcs, generous back story.
Rather, I think Ritchie was going for the vibe and energy of that earlier generation of spy films, which were more a vehicle for the star than anything and featured much shallower stories. To me, this film was more about Dean Martin’s Matt Helm, James Coburn’s Derek Flint, and if only for the humoured banter, Roger Moore’s James Bond.
Ritchie is trying to capture a time and place, or perhaps more specifically, a style. And if we have learned anything about Guy Ritchie, in a battle between style and substance, he will always go with style. In some ways, I see him more as a painter than a director, as his primary goal seems to be a luxurious visual. Dialogue is simply a necessary evil for him.
Although, this is not to say that the dialogue was a burden here. The chemistry between Cavill and Hammer is palpable, much as it was between Downey Jr. and Law. And the addition of Alicia Vikander’s character Gaby simply enriches that dance.
Unfortunately, Ritchie may have overestimated the power of his painter’s brush in this film if my friends and the 2/3-filled Friday night opener was any indication of how this movie is being received. This film was obviously set up to be a franchise, but as we have seen in the past, that decision doesn’t rest with the studios as much as with the audience (aka box office).
I’m hoping the movie does financially better than it looked. I’d like to see more of these movies. May have to live with reruns of the original series, instead.
Other reviews of The Man from UNCLE:
The Man From U.N.C.L.E. about more than just the cool clothes: review – Peter Howell, The Toronto Star
Movie Review: The Man from U.N.C.L.E. – Danny F Santos
A recurring theme, it seems, of late.
Passion and honesty win out over literary “skill” every time when it comes to attracting an audience.
Although I found this blog because of our shared love of hockey, I stay because Mark speaks with every man’s voice and with his heart.
Check him out.
Originally posted on ukhockeyfan:
I’ve been watching hockey for around 15 years now since being introduced to the game whilst on vacation in Toronto. Writing about the game I adore is a relatively new thing for me, mainly coming about as being a part of the LeafSpace community.
I cringe when I read back those articles but I wrote for the love of the game and because I needed an outlet to express my opinions and bounce back ideas with friends across the world.
Looking back it’s a tad bizarre, because a teacher eloquently told my parents at a school meeting that “your son has it upstairs but has trouble transcribing those ideas down onto paper.”
Sitting back and reflecting this simmer I’m still genuinely shocked and surprised that people enjoy reading my thoughts on the game, mostly to do with the Toronto Marlies.
I certainly never began writing about hockey thinking it would…
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[See video here…Viacom pulled YouTube video above]
When you have really touched co-workers’ lives, when you have helped people grow by nurturing them and fostering their inherent talents, when you have taught people through example, then and only then can you walk away knowing that you have done a good job.
Anyone can shill the product or service that your organization offers, but it takes a special person to see beyond his or her ego and know that it’s about others and making the world a better place.
Looking forward to your next adventures, Jon. Thank you.