Voice is one of my favorite aspects of craft to play with and talk about. Voice was the subject of my very first post here at Writer Unboxed. Today’s post will be short and sweet—a nifty, easy peasy, so-simple-it-seems-stupid trick to strengthen voice in revision.
When I’m helping someone with a manuscript, I sometimes find that unique and distinctive character voices are inconsistent—the writer will create a memorable voice for her protagonist…but will then allow that voice to disappear for long passages of the story. Usually, the voice will be strong in passages containing dialogue, but will lose its edge at other times. Contemporary writers, for the most part, tell their stories using first person or third person subjective as their chosen style of narration—and in both of those cases, the narration should be filtered through the point of view character’s voice and should remain strong and present throughout. A helpful little trick I was taught along the way can help with those inconsistent, “voiceless” passages—infuse some “character cue.”
You infuse character cue by tweaking the passage so that it contains some flavor, some vestige of voice, through character attitude and tone.
[pullquote]You never want a line of narrative that could have been delivered by just any ol’ character in your novel, right? Ideally, you want every line to be imbued with that strong voice so the reader knows exactly who spoke it.[/pullquote]
Look at it this way: you never want a line of narrative that could have been delivered by just any ol’ character in your novel, right? Ideally, you want every line to be imbued with that strong voice so the reader knows exactly who spoke it.
For example, perhaps you’ve hit a point in your story where you wish to convey to the reader that a horse trotted across a field. Your point of view character is going to tell the reader this. But if you write “The horse trotted across the field,”…well, anyone could have said that, right? There’s nothing in that line that cues up the character for us as readers. Now, I know, I know: that’s a mighty short phrase, and you might very well have a phrase like that and it would be just fine—as long as it was buried in context and in surrounding sentences that were loaded with distinctive character voice.
But if you write, “The damn horse trotted across the field like I was invisible,” well, then, that’s someone talking to us. That’s not just anybody—that’s a particular somebody with a specific tone and attitude.
And if you write, “Of course the horse trotted across the field—what else was the poor thing to do?” that’s an entirely different person, isn’t it? [Read more…]