Is Your Voice Shouting?

Are you stylish? I'm not talking about what's in your closet, but about your narrative style. In Donald Maass's book, The Fire In Fiction, he writes about the importance of a writer's voice - how you tell your tale. He points out different ways to make your voice "shout out".

GIVING CHARACTERS VOICE - This doesn't mean just taking their dialogue and dialect and making it different, but it means their outlook...their take on life. You need characters who have a unique way of looking at things, without becoming cartoonish. Their opinions need to be heard, however different it is from the norm. Sometimes we make our characters "safe", when we really should let them be real.

DETAILS AND DELIVERY - Maass asks why we avoid making a hero really different. He says, "Even the most ordinary people have a life that's unique. The details that make it so are a secret source of what critics glibly refer to as voice." Details are important. They give a story life and a voice. The way you state things, or the way your character speaks, gives your story its voice. It can be through syntax and/or details of what they say, do, or feel.

DIFFERENT WAYS OF RELATING STORY - Writers need to choose beforehand which POV and which tense to write from. There's no right or wrong way, but whatever you choose, you need to go deep into it. Make the character real, flaws and all.

I think VOICE is such an elusive thing. While I don't think your voice can be manipulated, I think Maass has some good suggestions for making your voice come through loud and clear. His ideas give a spring board to amplify your writing and letting you ....the real you...be heard.

It's not just the words that make a writer's voice unique. It's all the little things like details, delivery, outlook, original perspective, opinions, etc, that make an author's voice shout out.

I haven't found my voice yet. Not sure how I would go about finding it, other than just writing alot. I still feel like I am just getting started in this journey. I feel I am still whispering...afraid to speak up.

Do you think you have found your voice? Is it shouting yet?

*Reposted from a 2009 post on Sherrinda's personal blog.

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This post is brought to you by

 Sherrinda Ketchersid

Sherrinda is wife to "Pastor John" and mother to three giant sons and one gorgeous daughter. A born and bred Texan, she writes historical romance filled with fun, faith, and forever love.

Hidee Ya'll, Jeet Yet? Bending the Rules of Dialect

Pepper here, and I love writing dialect. But it’s a tricky sort of thing.

The trend in today’s fiction is the less the better. Unlike when Mark Twain wrote Huckleberry Finn.

“You wants to keep 'way fum de water as much as you kin, en don't run no resk, 'kase it's down in de bills dat you's gwyne to git hung."”

How many times did you have to read that to get the idea? Lots of popular fiction steers clear of such thick dialect clues, so what’s a writer to do?

If you’re like me, and you write lots of fiction with various accents, then you might find yourself in a pickle. With the rule being no dialectical writing or not phonetic markers, then how can we get by with letting people hear our characters accents with their eyes.

Here are three important tips to help you ‘bend’ the rule a bit and get that dialect in your fiction as great characterization. (examples from my novel, A Twist of Faith)

1. Simply explain it:

The strange, safe feeling dissipated once he opened his mouth. She looked away. The poor man could mutilate more vowels in a single word than all the Beverly Hillbillies combined.

(Here I give the reader the clue into the guy’s accent by talking about the vowels and comparing them to the Beverly Hillbilllies – no one has to decifer code or Elvish to figure out what the hero is saying :-) It's a simple description of what the reader should be hearing as they read.

Another way I say it is, His words had more twang than a banjo.

2. Go for ‘sound’ not ‘phonetics’.

If you want to show an accent, you don’t need to go into the detail Twain does. Sound for sound changes make it really difficult to follow the 'meaning' of the sentence. The important thing in popular fiction is to get the ‘feel’ of the speech.

In this example I use two VERY important rules for writing effective dialogue: Grammar and Regional Phrases.

“I didn’t mean no bother. Shucks, you ain’t even had time to unpack yer thangs yet. When Mama told me you’d got here already, I didn’t figure you’d just got here. I’ll come on back when you git settled.”

Other terms in Appalachian culture could be ‘gracious sakes’ or ‘land sakes (but that’s not used as much), ‘jeet yet?’ is another way of saying “Did you eat yet?’ And to draw out some vowels, I might write ‘naw’ for No.

Having a little bit of creative spelling is a stretch on the rule, but if the meaning is still EASY to decifer, then most of the time it will be okay.

3. Vocabulary choices:

In my novel, Here To Stay, I show the dialectical differences between my British hero and my Appalachian heroine through vocabulary. There are just some things a Brit will say that an Appalachian girl wouldn’t.

Endearments such as ‘luv’ and ‘darling’ are more prevalent in England than the U.S. Vocabulary like ‘per chance’, ‘ring someone’ (instead of call someone), or fewer contractions (unless it’s a certain British dialect) make those subtle differences that not only show the voice of the characters, but heighten their characterization too.

Here’s an excerpt:

“Isn’t your wife supposed to be here?”

“Ah, yes. Eleanor was feeling peaked this morning.”
Peaked? Sounded serious. “Is she okay?”
His smile crinkled at the corners of his eyes. “Oh, I’m certain she’ll be fit as a fiddle for the gala tonight. Social events always seem to encourage her health.” He winked. “Not fond of London morning traffic, I’m afraid. How was your flight?”
Eisley shrugged. “Okay, I guess. It would have been nicer if my seatmate hadn’t been so annoying. He kept flirting with me.”
“And that was an unpleasant?”
“I’m not interested in real-life romance. Really, all the best men are fictional, apart from my family and present company, of course. In fact, I wore my black suit just because I wanted to avoid romantic possibilities all together.”
Mr. Harrison crooked a brow and his moustache twitched again.
Eisley leaned forward and lowered her voice. “There’s an old sayin’ from my neck of the woods. ‘Black attracts everything but a man’. I’d rather have a closet full of lint.”
Mr. Harrison’s brow furrowed, and he delved into an obvious battle with his grin. “If you were in mourning clothes, perhaps, but otherwise I’d say that particular notion is quite out of date. I’ve always thought black looked appealing on redheads.”


So that’s all from me. Dialect is LOADS of fun and can really add to your story. But be careful. It’s like the perfect blend of spices – too much is…well….hard to swallow :-)

Are you using dialect in your story? What do you find helpful or distracting about writing or reading dialect?