I’ve talked about the importance of voice before (you can find that here), and about how finding your unique author’s voice takes time, patience and practise. I want to clarify author voice further in this post.Continue reading “Voice – A Comparison”
Last Saturday I attended a writer’s conference in Melbourne, KidLitVic. It was sensational! I got to meet other writers, rub shoulders with well known writers (Leigh Hobbs and I stood next to each other in the lift) and talk to kind and enthusiastic publishers and agents. I also attended three workshops.
On of the workshops I went to was called Finding Your Voice, and was run by Jane Pearson from Text publishing. She emphasised that all publishers are looking for manuscripts with authentic, resonating, voices.
So what does that mean for you and me?
There are two types of voice – the author’s voice which boils down to writing style and the character’s voice which is how the characters (especially the point-of-view character) speaks.
Just as art experts can tell who painted a painting by the brush strokes (or marks), you can often tell who wrote a book by the style of writing. Your voice takes time to develop. When I go back and read my first crack at a novel from nine years ago, it doesn’t sound like me. I was still finding my voice, the style that suits me and represents me best.
The best way to develop your voice is to keep writing and keep reading. Don’t fall into the trap of emulating the another writer’s voice. It may be great. You may love it. But it won’t be authentic and it will make it harder to be consistent.
The message that Jane gave us was, it’s hard to add voice later. By that she meant, you can’t write the whole story, get it perfect and then tweak it here and there to reflect the character’s voice. You need to know your character inside and out from the beginning, and write in their voice.
Don’t think though that your character’s voice has to be perfect from sentence one, draft one. For me, character voice develops with each draft I do. It’s definitely in the first draft, but the first draft is also where I’ve just bashed out the story. The second draft, where I’m reworking everything, is where the voice really starts to strengthen. I’ve spent a lot of time with my character by then. I know them not just as dot points in a notebook but as people who moves and acts and thinks and feels. It just gets better with draft 3, 6 and 10.
The key, I think and Jane mentioned, to getting a good, authentic, consistent, voice is to know you character. Before I even start writing my story, I sit down and write my character’s details in a notebook.
I didn’t always do this. In fact for my first three novels I didn’t (two of which I completed and one I am still trying to find a home for) and it made it harder, not just to find the right voice but to know what my character would do in any given circumstance.
Voice is Important:
Voice can make or break your work. I sat down with the super lovely Kristina Schulz from University of Queensland Press on Saturday and voice is one of the things we discussed. Maggie’s voice was reading too young for her. Maggie is sixteen but Kristina (who has to work up an assessment from around 2000 words or ten pages) thought she was much younger. And Maggie’s sister, Isi, was reading too old. Isi is six but her voice is definitely off.
Now, luckily for me, I had sent Kristina an (very) early draft. Not something I would usually do and I won’t go into my reasons now. But, I still have room to find Maggie and Isi’s voices. I know I will flesh them out and make them sing in later drafts.
The Take Away:
I’ve written a lot here but I want to stress that voice, both yours and your character’s, is vitally important. Don’t leave it until the final edit. Know your characters. Know what they’d say and how they’d say it. And let their voice shine through.