In the 19th century and early years of the 20th century, it
was fashionable for writers to insert their own thoughts and
feelings into their books with such devices as "Dear Reader." The
author addressed the reader directly, often coming off as
moralistic and pedantic.
Today's writers eschew this type of author intrusion. What's
more, today's readers won't tolerate this kind of condescension.
Readers want to bring their own experiences to books and to draw
their own conclusions.
If popular convention and taste don't allow a writer to
formally interject his own message in his books, how does he get
across his values and feelings?
Voice.
Voice is what comes through when your characters aren't
talking. In other words, voice is you, the writer.
How does an author establish his or her own voice? Word
choice, syntax, sentence length, and subject matter are but a few
of the tools writers employ in developing their voice.
Many factors influence voice: your age, your geographic
background, your education, your gender, your core beliefs, and a
host of other factors.
Over the years, I have developed two "musts" in developing
your writerly voice.
- Voice must be clear. Keep your voice uncluttered. Don't add
"extras" in the mistaken belief that that will improve or enhance
your voice. Chances are, those extras will only detract from it.
- Voice must be true. Don't try to fake the voice you bring to
your writing. It will have a false sound to it and will likely be
a watered down version of someone else's voice. Try to determine
what you bring to your writing that is unique to you and then work
on strengthening that.
While being true to her own voice, a writer can and should
adapt her voice to her target age group. I write stories for very
young children, older grade school children, and young adults.
While being true to my voice, I adjust my writing style to the
different age groups and the needs of the story.
Compare the following examples:
In "Kaci Gets a Haircut," a story for the preschool set, I
employ a vocabulary appropriate for very young children. Because
this is a story intended to be read aloud, my writing takes on a
more rhythmic style.
Kaci Richardson was going to get her real first haircut. Her
mommy had trimmed Kaci's hair at home, but Kaci had never been to
a beauty parlor before.
She was a little scared.
In my story, "Sweet Forgiveness," intended for fourth through
sixth graders, I adapt my writing, including vocabulary and subject
matter, to an older age group. My voice also reflects the tone of
a different era:
In the early part of the twentieth century, money on our small
Michigan farm was scarce. We grew most of our food in a garden and
a small orchard.
Mama's homemade bread was a staple in our diet. We usually
spread lard on it. Dark molasses was a special treat. Sugar was
so dear that we had it only in the jam and jellies that Mama made
from the fruit in our orchard.
Notice that the word choice as well as the style of the two
stories varies greatly. Both the tone and the purpose are
different.
Voice can bring flavor and seasoning to your work and is one
of a writer's most powerful tools. It can transform a story from
good to superb and invite the reader to share the total experience
of a book.
SIDEBAR: Use the following to help discover your own voice:
- Voice will come through in your writing, whether it's fuzzy or distinct. Make sure yours is distinct. The best way to do this is to write. Every day!
- Read, read, read. Learn from other authors' writing and see how they do it. Be aware when you're reading of how different authors use voice to paint word pictures.
- Practice. If you are unsure of your own voice, do some writing exercises, ones that you have no intention to publish, to "try out" different voices. Try to have a gentle, sweet voice in one, a fast-paced, edgy voice in another, etc. See what feels most natural. Then stick with that.
- Read your work aloud. Read other writers' work aloud. Listen to the flow and rhythm of the words, the syntax, the choice of words, etc. Determine what makes your voice different from that of other writers.
