When I decided to take the plunge and get my first Dottie Manderson book, Night and Day, translated into German and French, I think I realised that there would be a few conversations with the lovely ladies doing the work for me about the nuances of language. Questions along the lines of do I mean huge, big, large, gross, enormous… you get the idea. There are so many words to choose from, how do you know what is the best fit? There is not one word for big, or for fat, or… There were issues around the mention of a character’s fat, swollen ankles from being on her feet all day and being an older woman. In English, the word fat can mean podgy or overweight, but it can also mean grease, oil, butter, lard…
Fortunately the people I was lucky enough to work with are experts at what they do. their English is excellent, and they are experienced in making these kind of decisions. Because it’s not enough to simply translate verbatim and hope the result is still the same story. It won’t be.
And even at the end of this process, when the translated works are ready to be
inflicted published, there is still a bit of a question in my head as to whether these are now new works or are they the same?
So translation is not just about changing the words on the page from one language to another, there is the task of making it work in the new language, of polishing a new manuscript and ensuring it is easy to understand, that it works–that’s the only way I can think of describing it–in the new language, giving the new reader a beautiful reading experience.
There are new idioms to find, because cliches, sayings, idioms, metaphors, similes and proverbs in English don’t necessarily translate into another language and retain the original meaning. In the English book, I mention that someone inherits suits from his dead brother-in-law. ”Every cloud,’ he says.’ In Britain, and hopefully other English-speaking countries, we know that is short for the proverb ‘Every Cloud Has A Silver Lining’. But what if your language doesn’t use that saying? In the German and French versions we opted for phrases that translate as ‘After the rain comes sunshine’ – the same, but different.
Then there is the need to retain a certain amount of ‘Englishness’ or else I’ve lost one of my main USPs (unique selling points): people read my books because they are set in the 1930s and in England, or Scotland, (so far) and those things are not incidental but crucial to the ‘feel’ of the books.
For this reason, we made the decision to keep some of the original phrases and words in the new translations. For example, Detective Sergeant William Hardy is still known by that British title, and we didn’t translate his first name to Guillaume, for example, or Wilhelm. This was the same for the other characters. The places names remained the same, as did some words such as Pub, Pint (not so much as a unit of measurement but more in terms of ‘that’s my pint’) and Bobby (as a slang word for a policeman) along with a few others.
This works to add to a sense of reading a British book, just like the imagery you get in a British film or TV series where they put in quaint country villages with thatched-roof houses, red pillar boxes, red phone boxes, and red double-decker buses. It’s set-dressing and gives the reader a sense of being in a different place, when they are immersed in the story. It’s the same as putting on costumes or using other props in a film: it contributes to the experience, and hopefully enjoyment, of the audience.
Importantly though, I was assured that German and French readers would perfectly understand these few phrases, just as we would understand if a German character was introduced as Herr Schneider or a French person was introduced as Mademoiselle Lions. Most of us understand a few basic words, even if we are not fully fluent with another language. I bet if I said to you Neunundneunzig Luftballons you’d know exactly what I meant, even if you don’t speak German. Similarly, if I said, Du vin, Du pain, you’d easily finish that well-known phrase from our fave cheese advert of the 80s and 90s.
Most noticeably we kept the title o f the book the same as the original. That was a complicate decision, as I had anticipated changing the title to Nacht und Tag for the German (obvs) and Nuit et Jour for the French. Author Mel Parish has already asked why we–or I, I should say–made that decision. But in conversation with Stef Mills, the lady who did the German translation, this question of title cropped up, and it was one we had to really think about. The title here is taken from the title of the song written by Cole Porter and made popular in first the musical, then the film Gay Divorce from 1932 onwards.
Spoiler: At the beginning of Night and Day, Dottie Manderson finds a man dying in the street, and he was murmuring this song which she recognised. Later, she has to sing to the policeman, William Hardy, the brief snatch of the song she heard. It’s not to help him with his enquiries, as she thinks; it’s just so he can listen to her voice a little bit longer. Aww. So you see, the song is key to the story, and I knew from the start it was what I wanted to call the book.
(Btw I had planned to include the whole of the verse first the dying man, then Dottie sings, printed in the story in full, but I had to remove it, because when I tried to obtain copyright approval, the amount asked was far beyond what I could afford it, so to avoid copyright infringement, I had to take out the words, which was a pity.)
But… back to the translation – so you can see that the title and reference to the song was important, but when we discussed it, Stef told me that in Germany, the phrase when used as an idiom is always said the other way around – German people don’t talk of night and day but of day and night. In Britain, we kind of use it either way round. More importantly she told me that the song title is widely known by fans of Cole Porter, but always known by the English title. Then Eden Rébora, the lady who was tackling the French version of the book, told me the same. So it seemed best to keep the title the same for all language versions. Ta-da!
Actress Loretta Young whose sweet expression inspired me and launched a series!
Yes, you’ll notice I didn’t change the covers either. Some readers might remember that a few weeks ago I asked on FB for people to vote for their favourite book cover from a group of four: the existing one and three other, new ideas. As the votes were really evenly spread, with a very slight lead on the existing cover, I left the cover exactly the same. I was a bit surprised by this outcome as I’ve often wondered if the cover ‘worked’, as writers tend to obsess about everything. So it’s quite nice to know it does. People tell me they always think of Dottie as they read, as she appears on the cover. (The lovely image is just a stock photo, from Artsy Bee on Pixabay.)
The original image I used for the covers for the Dottie Manderson series. She was the perfect match for Loretta Young. Image by Artsy Bee from Pixabay.
So finally: The paperback versions of the French and German editions of Night and Day are already available on Amazon. And the eBook versions will be released on 25th June, but are available to pre-order right now, also from Amazon. Ultimately I would like to release the book in Polish, Spanish, Italian and maybe other languages, but at the moment, it’s just these three.
Stef and Eden are already working on book two of the Dottie Manderson mystery series: the Mantle of God. Another title that led to lengthy discussions, but this one will be translated, as it’s not a song title or anything like that. The French will be Le Chape de Dieu, and the German, Das Gewand Gottes.