Peering behind the curtain with Juliette Wade

I asked Juliette to guest blog about constructing alien languages, because I find it fascinating and thought you would, too.

Sneak Peek at Khachee

Thanks for inviting me, Ann! 



Khachee is the language featured in my latest Analog Science Fiction and Fact story, "At Cross Purposes" (out in bookstores right now!). Let me start by saying that I never design an alien language to require a lesson before reading - so if you don't read this, you should be just fine enjoying the story! However, you can expect a bit of insider knowledge to come from this introduction. I promise not to divulge any spoilers!



Because the aliens in "At Cross Purposes" have a playful side and are easily excited, I designed them on the basis of river otters. This meant I could use all kinds of river-otter-like similes and metaphors in the story, having them compare things to water, to fish, to boats, etc. I also looked for inspiration about river otters' social structure and the sounds they made. These provided major influences for the aliens' language and behavior.



First were the sounds of their language. 

I found recordings of river otter sounds - this one among others - and tried to see if I could imagine extracting consonant-vowel patterns out of it. What I got from all the whistling and clucking was that vowels would be long, that consonants would have a striking quality, and that there would be a tendency to duplicate things. Based on this, the first word I created was the name of the species: Cochee-coco. It has a meaning, which I'll discuss further below.



To make the consonants of Khachee stand out, I decided the language would have a more extensive system of voiceless affricates than English does. Affricates are sounds like "ch." These sounds begin as stops (p/t/k), and then release into fricatives (f/s) at the same location:



• t->sh = ch

• t->s= ts



Thus, in addition to "ch," I decided that Khachee would use "ts," "pf," and "kh." To make the contrast with English clear, I decided Khachee wouldn't use plain fricatives at all. A Khachee mispronunciation of the name "Doris" would therefore be "Dorits."



The other thing I picked out from otter life is that they have a small number of young in a litter - usually one to three.



I had independently come up with the idea of a society where people were always born as twins, and therefore this fit well with what I had in mind to do. Cochee-coco are always born in pairs, and while each has a name, they go by the name of the pair. The main characters of "At Cross Purposes" are a brother Chkaa, and a sister Tsee, who go by "ChkaaTsee."

This brings me to the two organizing principles of Cochee-coco social life: Purpose, and Apfaa. I'll have to be a bit vague about Purpose, but I can say that every individual has one - it even becomes part of their name - and it's one of their reasons for being. For this reason, when I named the species, I decided not to have them call themselves "the people" (a common strategy I have used before). The direct translation of Cochee-coco is "Pursue Purpose, pursue-pursue." The name of their language, Khachee, translates as "speak Purpose." Morphologically, it breaks down as follows:

• chee=purpose
• co=pursue
• kha=speak

Obviously, Purpose is something they get very excited about! However, it is a chaotic force in their society because it tends to drive individuals apart. A society based on Purpose wouldn't work without something else to temper it. I therefore set up the opposing force, "apfaa," to rein Purpose in. I actually spent a long time trying to find just the right English word for this, but finally gave up and decided to create one. It's the expression of the twin relationship, established at birth and continued throughout life, and it includes both attraction and repulsion between pair members: "the duality that holds agreement in one hand and conflict in the other."



The presence of these two forces is really important to the language, because Tsee, the alien point-of-view character, constantly judges situations and events around her in terms of either Purpose or apfaa. Apfaa is in fact the basis of the most distinctive feature of Khachee: turn-taking rules. 



English is spoken by individuals. When we speak in conversation, we say what we want to say; then, as we listen to what the other person is saying, we keep our ears alert for natural breaking points. These breaking points are opportunities for us to seize our own turn again. If you've ever felt someone has interrupted you, usually it's because a person began speaking in a place that you didn't recognize as a natural turn-taking break. There's wide variation in what counts as a proper breaking point for turn-taking, even within the usage of English.



Khachee is not spoken by individuals; it's spoken by pairs. Any member of a pair can initiate a statement, question, etc., but the turn is not complete until it has been "chimed" by the other member of the pair. The person "chiming" is responsible for commenting on the quality of the information provided by the initiator. The chimer will indicate whether what has been said is true, or an opinion, or something they overheard, something they want, something they think is horrible, etc. Starting to speak before the second member of the pair has had a chance to chime counts as an interruption. When a Khachee speaker listens to a human speaking, she will tend to assume that the speaker is not finished. This can - and does - lead to awkwardness!



The effect of the Khachee turn-taking strategy for the story's purposes - when it's rendered in English - is a distinctive intonational pattern. This pattern resembles call-and-response, something like what you might have heard in church contexts. I deliberately had to stop myself from including the phrase, "Testify, sister!" because it would have evoked the church context too directly. The turn-taking strategy also influences the way that Khachee speakers organize their own thoughts. They'll tend to express judgments of their own thoughts, acting internally as a pair-member for themselves.

Here are some examples.



A pair turn


Tsee: We won't leave you to speak alone, but will return you to your people.


Chkaa: Truth!



An individual's thought


Pointed at us are weapons, deduced - these aliens are as wary as the Rodhrrrdkhi, suspected.



The last thing I'll mention here is the question of pronouns. When I first imagined the Cochee-coco and their focus on pairs, I toyed with the idea of not using the pronoun "I" at all, but having members of the pair think of themselves as "this half" and "that half." When I tried it, I discovered it was disastrous from a story perspective: it became difficult to track who the alien protagonist was. Pronouns are extremely resistant to change, so watch out for them! In the end, I decided to use a different, more subtle strategy - a strategy of avoidance. Tsee will typically talk about "we," the pair, and won't refer to herself as "I" unless she has to draw a deliberate comparison between her own actions and those of her brother.



I hope you've found this intriguing, possibly useful to your own thoughts on language design, and that you'll take an opportunity to pick up the story to see Khachee in action! Thanks again to Ann for inviting me.

Meet SF author Juliette Wade

Juliette Wade went straight to the top of the science fiction short story ladder when she made her first sale to Analog. I'm not jealous, honest. >blushes and fidgets<. She's a talented author who brings a unique perspective to her stories because of her academic background, travels and curiosity. Her novelette, "Cold Words," is in the October edition of Analog and she has a blog entries on the new - and way cool - Science Fiction Writers of America website.

AW: What science fiction writer has most influenced your work?

JW: Ursula K. LeGuin, definitely. I remember being impressed with the thoroughness of her world concepts, and also with the simplicity that she used to get those concepts across. Her worlds feel so real, without a word wasted on infodumping! I've actually analyzed her prose (as those who've visited my blog know), and written a paper about the way she takes the strange and makes it feel familiar (ALSC [Association of Literary Scholars and Critics] Conference, 2006).

AW: What first sparked your interest in linguistics and anthropology?

JW: I've always been interested in languages. I learned French as a child, and traveled in Europe with my parents; there was a time when I wanted to learn every language in the world. I took every language I had time for - French and Spanish in high school, and Japanese in college. One of the things that always impressed me about the languages I studied was the way that aspects of culture were revealed in the language, so that was why I ended up going into Anthropology and Linguistics. Whenever I studied foreign language, I had this awesome feeling like my brain was expanding. That's my ultimate test for any language I create - if I can write in an alien perspective and feel my brain expand, then I know I've gotten it right.

AW: Do you remember where you were and what you were doing when you opened that first acceptance letter?

JW: Yes. I was running out the door, late taking my kids to their gym class, so I didn't open it. I was afraid I'd crash the car; I almost opened it at every red light. Finally I opened it at gym, and had a complete conniption right in front of everybody. When I told them why, they didn't mind.

AW: What was the most valuable advice you've received from a writer?

JW: The most valuable advice I've received came from my best friend, Janice Hardy. She told me that the first thing you have to do is to make your reader care about the story. Without that, it doesn't matter how well it's written in other respects. So I pay a lot of attention to establishing my protagonists, their goals, and what they stand to lose if they don't achieve them.

AW: What defense do you offer when you get the always dreaded, you write science fiction? Really? I used to read it when I was a kid.

JW: Defense? I never really thought about it like that. But then again, I guess I have a rather kid-like enthusiasm about what I do. So my response is usually, "Isn't it COOL?"

AW: What has helped you the most in learning to create truly alien aliens?

JW: Two things, both of which I learned in graduate school. The first is qualitative research, or field notes, which taught me about paying attention to the details of social situations and describing them without passing judgment, allowing my readers to share my observations (and thus my conclusions). In that context I also learned about paying attention to the details of how individuals express their alignment with social groups, and particularly how they describe groups in which they feel like they are insiders. The second is discourse analysis, or transcribing sequences of talk and breaking them down into pieces. This taught me to look for the linguistic sources of the subconscious emotional impressions I got while listening to what people said, and it's helped me immensely in the planning and editing of my alien speech.

AW: Do you have someone you bounce ideas off of?

JW: Definitely. I have a tendency to bounce ideas off anyone who will tolerate them, but my staunchest writing partners are Janice Hardy, Dario Ciriello, and Lillian Csernica. Each one of them has distinct complementary areas of strength, and I wouldn't be where I now am without them.

AW: What was your best convention experience?

JW: It's hard to say. One really great one was when I was on a panel about the Seven Wonders of the World at Baycon a few years ago. I was on the panel with Deborah J. Ross and Paul Chafe, and it was Deborah who introduced me to Sheila Finch (author of The Guild of Xenolinguists), who first suggested I send a story to Analog. I was also privileged this July to be on a panel with Sheila and with Dr. Stanley Schmidt about designing alien languages. It was amazing to be on a panel with people who were both knowledgeable about language and cared deeply about its place in science fiction.

AW: What are you working on now?

JW: I've been designing a new story, tentatively titled "At Cross Purposes," in which humans encounter aliens with a very different view of technology. I'm also working on a collaboration with Sheila Finch about a deaf linguist. And I've just finished revisions on a fantasy novel, so I'll be heading into submissions very soon, and I'm hoping to turn my eyes to a novel-length project that takes place in my multi-caste Varin world. So I've got a long to-do list! It's very exciting.


Learn more about Juliette at her blog,TalkToYouUniverse.

Next Friday, I'll be posting an interview with Jasper Fforde.



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