As mentioned last week, the voice is what grabs your reader from the beginning and keeps them reading. It’s highly subjective, though. What one person may love, may turn another reader off. Oh well. No one said writing was easy.
But what is the narrative voice? According to Jessica Morrell (see recommended reading), it is “the distinct and memorable sound of the writer, narrator, or character.” The voice, in fiction, will depend on who the narrator is. Is she witty, serious, or conversational? Is she more comfortable discussing fashion or discussing Jane Austen (or maybe both)? Is she from an upper class, middle class, or lower class family? Does she swear? A little or a lot? Is she basically happy with her life or depressed? Is she a romantic or a cynic? All of these will shape the narrative voice.
Here are a few examples from teen novels:
City of Glass, Cassandra Clare (fantasy)
Clary had gone straight to the Institute after she’d talked to Madeleine at the hospital. Jace had been the first one she’d told her mother’s secret to, before even Luke. And he’d stood there and stared at her, getting paler and paler as she spoke, as if she weren’t so much telling him how she could save her mother as draining the blood out of him with cruel slowness.Parties & Potions, Sarah Mlynowski (chick lit)Do I like red?
I pirouette before the mirror. Yes, the red shirt could work. Red makes my hair look super-glossy and glamorous and goes great with my favorite jeans.
If I do say so myself.
The shirt has a scooped neckline and adorable bubble sleeves. It’s my back-to-school top for the big, BIG day tomorrow—the very first day of sophomore year! My BFF, Tammy, and I went shopping last week for the occasion. I know I could have just zapped something up, but the first rule of witchcraft is that everything comes from something. I didn’t want to accidentally shoplift a new shirt from Bloomingdale’s.Along for the Ride, Sarah Dessen (contemporary)Ten minutes later, I was slipping out the side door, my shoes tucked under my arm, and getting into my car. I drove down the mostly empty streets, past quiet neighbourhoods and dark storefronts, until the lights of Ray’s Diner appeared in the distance. Small, with entirely too much neon, and tables that were always a bit sticky, Ray’s was the only place in town open twenty-four hours, 365 days a year. Since I hadn’t been sleeping, I’d spent more nights than not in a booth there, reading or studying, tipping a buck every hour on whatever I ordered until the sun came up.Wake, Lisa McMann (paranormal)Janie Hannagan’s math book slips from her fingers. She grips the edge of the table in the school library. Everything goes black and silent. She sighs and rests her head on the table. Tries to pull herself out of it, but fails miserably. She’s too tired today. Too hungry. She really doesn’t have time for this.
And then.As you can see from the examples above, the voice is unique for each one. Cassandra Clare is, in my opinion, the master of imagery. Sarah Dessen has a more formal voice. Both used longer, more complex sentences in their novels. Lisa’s voice is compelling with short sentences and sentence fragments (either the noun or the verb is missing), both of which are used frequently throughout the novel. All four use sentence structure and word choices that fit their voice.
The main thing with the voice is to be consistent. You don’t want to start off sounding like Cassandra and end up sounding like Lisa. Not that you should try to copy their voices, either. Experiment until you find the right one for your character. And make sure it sounds natural and not forced and unauthentic.
But what about non-fiction? Does it have a voice or is that only in fiction? Yes, it absolutely has a voice. Figure out what the purpose of the term paper is, then determine the best voice for it. Theme can also play a role here. Of course, if you’re writing a term paper on Romeo and Juliet, you might want to avoid the snarky voice. When in doubt, ask your teacher first. Some prefer a formal voice; some would be delighted if you write something that sticks out from the pile of dull essays. Again, make sure it doesn’t sound forced. Nothing flops faster than humor that misses the mark.
Exercise: Study different novels, short stories, and non-fiction works (magazine articles, books, newspapers) and see what you like and don’t like in a particular voice. Next try to create a voice for a short story or non-fiction article based on your findings. Don’t worry, it might be a mess at first, but you won’t know until you’ve experimented. And don’t be afraid to play around with different voices. You might surprise yourself.
Recommended Readings:Writing & Selling the YA Novel, K.L. Going
Thanks, But This Isn’t For Us, Jessical Morrell
Self-Editing for Fiction Writers, Renni Browne and Dave King
Not long ago, I started sending out queries for Lost in a Heartbeat. I didn’t expect a lot of agents to jump on it since it deals with a tough issue. It really isn’t for everyone. Fortunately, among the form rejections were two personalized ones. The agents liked the concept (yay!), but my voice was an issue. Groan.
