Tag Archives: what is a writer’s voice

Style and Voice #amwriting

The literary voice is the way a story is told. Literary voice has been compared to  music. We’ve all noticed how a well-known song can sound so different, depending on who is performing it. The words are the same, the basic melody is there, but some performances shine while others miss the mark.

The distinctive style of each writer forms when we engage personally with a topic and impart our personality to that piece of literature. We are each islands in a vast sea of writers, and the view from our place in the universe is slightly different from that of our fellows.

Therefore, how we convey what we see and imagine has an identifiable sound that is ours alone. Phrasing, word choices, these are the recognizable sounds of our literary style. Our habitual writing style is our unique fingerprint, the author’s voice.

However, voice is often what we love or hate about a certain author’s work. Editors for publications are readers who are looking for the best work to publish in their magazine or anthology. If a story has great characters and a good story arc, voice is what will attract or repel them.

These are the holy trinity that combines to make a classic tale:

  • great characters
  • unique voice
  • gripping plot

You may have noticed plot is listed last—and it is last for a reason. If the characters are not engaging and the writer’s style isn’t to my taste, the plot alone won’t sell me that book.

What is the writer’s voice? Wikipedia, the fount of all knowledge, says:  The writer’s voice is the individual writing style of an author, a combination of their common usage of syntax, diction, punctuation, character development, dialogue, etc., within a given body of text (or across several works).

Don’t confuse lazy writing with style. Lazy writers

  • Use too many quantifiers “It was really big.” “It was incredibly awesome.”
  • “Tell” the story instead of showing it: “Bert was mad.”
  • Swamp the reader with minute details: “Mary’s eyebrows drew together, her lips turned down, and her cheeks popped a dimple.”
  • Ruin the taste of their work with an avalanche of prettily written descriptors: “-ly” words
  • Have their characters natter on about nothing just to kill time. It doesn’t show them as human, it shows them as boring.

Lazy writers don’t realize how smart their readers are. We don’t have to offer up every minute detail of breakfast. Broad strokes will paint the picture.

In contrast, some enthusiastic writers go overboard in trying to create beautiful, literary prose. They’re confusing contrived writing with literary style.

Literary agent, Noah Lukeman, in his book The First Five Pages: A Writer’s Guide To Staying Out of the Rejection Pile, says, “All of these writers think they add a distinctive flavor, a ‘richness’ to the text, but more often than not they are just indulging themselves—thus the term ‘self-indulgent’—a common symptom of the over-styled manuscript.”

As we grow in the craft, our style becomes more cohesive, less self-indulgent, and more able to reflect our ideas. Certain habits will remain, the core of who we are and how we express ourselves. This is our voice.

It gets a little confusing when voice can also mean the tense in which the narrative is presented. English is a language where one word can have a multitude of meanings and context is critical. Some writers incorrectly use the terms voice and point of view interchangeably, so when they are talking about third voice, they mean Third Person Point of View. In this case, they are speaking of the main character’s voice, how she tells her story.

In this aspect, there are two voices to every narrative: the author’s voice, and the character’s voice.

Narration is the use of a written or spoken commentary to convey a story to an audience. Perspective and voice are components of the narrative.

Wikipedia says “Narrative point of view or narrative perspective describes the position of the narrator, that is, the character of the storyteller, in relation to the story being told. It can be thought of as a camera mounted on the narrator’s shoulder that can also look back inside the narrator’s mind.” It also explains that a narrative consists of three components:

  • Narrative point of view: the perspective (or type of personal or non-personal “lens”) through which a story is communicated.
  • Narrative voice: the format (or type presentational form) through which a story is communicated.
  • Narrative time: the grammatical placement  of the story’s time-frame in the past, the present, or the future.

Anyone who is a member of a critique group is regularly beaten over the head with certain basically good, but occasionally clichéd, rules. Improperly applied, this mindless interpretation of proper grammatical style can inhibit an author’s growth.

These rules are fundamentally sound but cannot be rigidly applied across the board to every sentence. For editing and also for writing, when I have questions about grammar I rely on The Chicago Manual of Style, but I also understand common sense.

Again it’s all about context. Sometimes a sentence that is grammatically incorrect sounds better, especially in dialogue. The bold writer sometimes breaks grammatical laws to write great books. How they habitually break those laws is their fingerprint, their style.

English is a living language. As such it is in a continual state of evolution and phrasing that made sense one-hundred years ago may not work well in today’s English. We may be writing a period piece, but we are writing it for modern readers. Nevertheless,

  • You can split an infinitive: it is acceptable to boldly go where you will.
  • You can begin a sentence with a conjunction if you so choose. And no one will die if you do.

How you apply grammar, the words you gravitate to, the point of view you work best in—these are the identifiable aspects of your voice as an author. Your writing style is a combination of how you speak through your pen or keyboard, how you craft your prose—your voice.

As Noah Lukeman’s book tells us, your author’s voice should not be so distinct and loud that it makes your prose obnoxious. Sharing your work in the early stages with an interested reader who will be honest with you can help you avoid some of the pitfalls in developing your style and voice. Find a good editor you can work with, one who will understand your stylistic choices, but who will guide you away from bad writing. This is money that is well spent.

Write something new every day, even if it is only a paragraph. Of all the advice I have to offer, this is the most important because if you don’t write, you have no voice, no style, no story.


Credits and Attributions:

Quote from The First Five Pages: A Writer’s Guide To Staying Out of the Rejection Pile, by Noah Lukeman, published by Simon and Shuster, © 2000.

Wikipedia contributors, “Narration,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Narration&oldid=777375141 (accessed Mar 18, 2018).

 

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#amwriting: Voice vs lazy writing

Epic Fails signI find it aggravating when I read a book where the characters “begin” to do things.

If you watch them in real life, people don’t “begin” to pick up that knife. They don’t “start” to walk away. They pick up the knife. They walk away.

Using “begin” and “start” to commence a “doing” scene is a lazy writing habit we have to train ourselves out of. We are thinking the tale, and writing it as it falls from our head. Because we get into storytelling mode, the dog begins to bark, and the neighbors start to complain.

A narrative where people begin and start to do things separates the reader from the story.  And when we are in storytelling mode we pepper our manuscript with too many descriptors, and give too much information. All first drafts will have some instances of lazy writing–not because we’re lazy. It’s quicker to write your story down in this fashion and it gets the thoughts out on the paper before they vanish.

But these shortcuts are what we clean up in the second draft.

I let the words flow as they will when I am writing the story down. When an idea has me in its grip I don’t worry too much about phrasing. This is why first drafts are uneven and rough, and why they shouldn’t be shared with too many people. Sharing short snippets in your writing group is one thing, but for the love of Tolstoy, don’t publish that mess!

At the first draft stage, the most important thing is to simply get it out of your head and onto the paper.  Once that is done, it’s time to go through the ms on a paragraph by paragraph basis and tweak the weak sentences, making the story become in reality what it is in your mind’s eye. This is the second draft, where we wrangle the tale into something a reader might want to “test-drive” for us.  It may take more than two drafts to get a manuscript to that point. At least for me it frequently does.

Capote_cold_bloodEvery author, no matter how famous, has a unique way of getting the work out of their heads and on to the paper. Every author then has to go through the second phase of the process, which involves both cutting out whole sections, and tweaking what remains until you can’t see the forest for the trees.  Truman Capote said, ”Editing is as important as the writing. I believe more in the scissors than I do in the pencil.”

Capote died at the age of sixty having written one of the most highly acclaimed works of our time,  In Cold Blood.  He’s gone, but his words live on and when you look at his work, you can see he put his philosophy to practice.

I regularly read the works of other authors. But what makes some work a memorable experience? Why are others are okay, but lacking something?

It’s not only a great plot, crucial though it is. Even bad books often have a good idea for a plot.

Also, it’s not just having great characters, although no book is worth reading without them, in my opinion.

Every gripping story has both of those crucial things, but also has a third thing, something that is indefinable and can’t be duplicated: a style that is recognizably that particular author’s voice.

That combination is what hooks and lands me as a reader.

These things are the holy trinity that combine to make a classic tale:

  • gripping plot
  • great characters
  • unique voice

What is “Voice”? Wikipedia, the fount of all knowledge, says:  The writer’s voice is the individual writing style of an author, a combination of their common usage of syntax, diction, punctuation, character development, dialogue, etc., within a given body of text (or across several works).

Use your voice to create strong sentences that intrigue and capture the reader.  Passive, telling sentences lose the reader’s interest.

We all feel a flash of anger when certain flaws in our work are pointed out. However, when an editor corrects your lazy writing habits they aren’t trying to change your voice. They’ve seen something good in your work, and they’re pointing out places where you can tighten it up and grow as a writer. Remember, voice is how you use syntax, diction, punctuation, character development, and dialogue.

You have a unique voice. Hopefully, in your writing you also follow the commonly agreed upon rules of the English language (if your work is written in English). We shouldn’t write the way we speak. Our casual conversation is sprinkled with words and phrasing we shouldn’t use in our writing except in the dialogue portion of the manuscript. After all, we want our dialogue to feel comfortable when it is read aloud.

Lazy writers

  • Use too many quantifiers “It was really big.” “It was incredibly awesome.”
  • “Tell” the story instead of showing it: “Bert was mad.”
  • Swamp the reader with minute details: “Mary’s eyebrows drew together, her lips turned down, and her cheeks popped a dimple.”
  • Ruin the taste of their work with an avalanche of prettily written descriptors: “-ly” words
  • Have their characters natter on about nothing just to kill time. It doesn’t show them as human, it shows them as boring.

Johnathan_Livingston_SeagullWhether you write essays, novels, technical pieces, or flash fiction you should write something new every day, even if it is only a short passage. Writing daily develops your skills and over time your prose becomes leaner and your voice becomes well-defined. Richard Bach, author of the amazing novella, Jonathan Livingston Seagull, said, “Never stop trying. A professional writer is an amateur who didn’t quit.”

Tighten that prose. Comb the manuscript for telling words and be sparing with descriptors.

And be prepared to see red ink when the manuscript comes back from the editor despite your efforts to craft perfect prose.

That is just a part of this process.

 

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