So they have places from which they speak in a given chapter. And then if I just point back over there, you remember who I was talking about. People speak from different places on the page, and that’s kind of where they’re set up, which mirrors the way that if I was telling you a story in ASL, I could set people up around me like that.
So the way the dialogue ended up in the book is basically spatial dialogue tags. But then I thought, for a hearing reader, that’s just going to look like “broken English.” And that’s not showing them the point, which is that it’s actually better than English, particularly for these characters. So I was like, ok, maybe I can just write it in ASL syntax. And the page is so flat, and ASL is so not, so that was something that I struggled with a lot in the early part of the book-trying to decide how do I show ASL on paper? How do I also differentiate between ASL and English? Because I was thinking originally, one of the first things that’s a very obvious difference between ASL and English is the syntax it’s basically backwards. And particularly for this book, because I wanted to be able to, in some way, represent ASL on the page. And I was curious if regular prose feels restrictive. Sara: Blast Lil Nas X’s “Industry Baby,” make pastaĬhristopher: One corner of deaf life that you illuminated is all the techniques for signing stories, like the subtle shoulder shifts to mean a different person, or the way you move your hands to mean different types of things.
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