Friday Speak Out!: Writing The Powerful

by Jeanine DeHoney

There are some stories that need to be written. Not because they are honeyed vignettes of our life or the life of someone we know or imagine and fictionalize but because they are powerful. They are stories, articles, screenplays or novels that are powerful. Words that will unnerve people, tear at their emotions and cause them to think differently, and maybe…hopefully change or take steps to change the world.

As a writer I have always wanted to write those types of stories. Often times I attempted and just scratched the surface, not delving deep enough into those moral, societal and global issues as much as I wanted to because the writing was painful or uncomfortable for me or I thought I might reap hostile responses from those readers whose opinions differed from mine.

I admit that I sometimes thought that as long as there were other writers writing with fire and brimstone about the ills of society; stories about racism and sexism and bigotry and poverty (According to the National Center for Children in Poverty (NCCP) poverty is the single greatest threat to children’s well-being,) and the school to prison pipeline for many minority students and students with disabilities, our healthcare system, the new immigration policy, etc., I could concentrate on other types of writing.

But as I get older and sager and frustrated with what is so reprehensible in our headlines, the voices of those who are broken or marginalized are at full volume in my ear. Their voices remind me that yes, stories that make people smile and laugh and forget about their troubles are valuable and needed but stories that express our struggles, failures and sad truths are essential.

Our voices are important as writers. Our written words are lyrics that can become the song that stays with a person and causes them to hum (protest, boycott, teach tolerance, sign a petition, speak out, etc.) throughout the day. Our written words can also be healing and redemptive.

Although I'm not putting all of my other stories in a lock chest; the nostalgic stories from my childhood, the humorous children’s stories I hope to find a publisher for, the essays on motherhood or wifehood that I hope will give someone a bellyaching laugh along with inspiration; I am resolute in my decision to write words that are more powerful and hones in on what is erroneous in our society, especially right now.

I want to make my dent in this world in the hopes of changing it and although I know in so many ways you and I do that already as writers, parents, teachers, etc. I ask you to join me with a more urgent conviction than you may have and write the powerful, be it one powerful chapter in your novel, one powerful sentence in your essay, or 140 powerful characters to a friend.

* * *

Jeanine DeHoney has had her writing published in several magazines, anthologies and online blogs. Her writing has appeared in Mused-Bella Online, The Write Place At the Write Time, Literary Mama, Mutha Magazine, The Mom Egg, Wow-Woman on Writing-The Muffin's Friday Speak Out. Scarymommy.com, Parent. Co., Brain Child Magazine, Todays Caretaker Magazine, Jerry Jazz Magazine and Rigorous Literary Magazine. She is an essayist in the anthologies Chicken Soup for the African American Woman’s Soul, Here in the Middle, and Theories of HER-an experimental anthology and will have an essay upcoming in an anthology about sisters. Ms. DeHoney is also a contributing writer to Dream Teen Magazine. 
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Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!
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3 comments Friday Speak Out, Jeanine DeHoney, powerful writing, writer's voice, writing to change the world

Friday Speak Out!: The Writer's Voice

by Lauren Garner

We breathe every moment of the day, and often times, we speak with that same breath. As human beings, we never notice the sound of our voice or how it carries into another persons' ear. It just does. However, when we are sitting at our desks, laptops are open, eyes glued to the screen with our eyebrows furrowed because nothing is coming out. No words are written and no inspiration is flowing, and why is that? On a normal day-to-day basis we can communicate so profusely, but when it comes to putting your pen to paper, it's almost like you forgot how to write. It's not that you don't know what to say, it's because you don't know how to say it. You haven't discovered your voice.

To begin knowing your voice, you have to know yourself. Begin by taking a few minutes to describe yourself in three to five words. Are you funny, smart and outgoing? Or maybe you're sassy, independent, and beautiful. There is no wrong answer in this game unless you aren't being honest with yourself. Once you are done with this, ask your friends and family to describe you in a few words. Take this data and apply it to your writing.

What is that book series that you couldn't put down, or that one writer that has stolen your heart? Whoever it is, look to them for their support and guidance. All of them started out exactly where you are now and they're great mentors. Figure out what their voice is and you'll find yours, too. It wouldn't hurt to turn to your favorite musicians and things you watch such as movies and TV shows. All of it is a beautiful inspiration.

The most important part is to not force it. Write because it's fun and you love doing it. A lot of new writers think that finding their voice is the hardest part about writing, and this can cause them to become discouraged. Sometimes they'll even throw out a masterpiece because it just isn't right to them. Think of a writer's voice as being like the cheese in a grilled cheese. You wouldn't eat the sandwich if it was just bread, would you? So why would you read the book if it doesn't have any personality? Your voice is what tells people, "No one else could have written this."

* * *

Lauren Garner has been a writer since she was a little girl. Throughout her life, she was known for always carrying her notebook around working on her latest story. With many different topics that interest her, the main goal in Lauren's life is to help others. In her free time, she writes for her blog, www.l1ttler3d.com and works on her short stories and novels.
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Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!
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3 comments Friday Speak Out, Lauren Garner, writer tips, writer's voice

Friday Speak Out!: Which Dude has the 'Strongest Female Voice?'

By K. Alan Leitch

The community here at WOW, who could be forgiven if they chose to exclude me, have instead been the most supportive I have found toward my fledgling efforts as a writer. The problem I have fitting in, you see--here, and in most contemporary writing groups--is that I am from the very gender that may have caused the need for this organization. That's right: I am a man.

Before you resent the many unfair advantages my gender admittedly brings me, however, take five minutes to browse through the wish-lists of any random sampling of agents. If you parsed them for the most common phrase that occurs, I would place a bet on that phrase being what agents describe as, 'Strong Female Voices.' As a die-hard fan of Die Hard, I think you can understand how the expectation to write these might intimidate me.

So... what's a boy to do?

Setting aside for a moment the many interpretations of what constitutes 'Voice,' I'd like, instead, to consider what distinguishes female voice from male. Is it sensitivity? Empathy? Uncertainty? Surely not, as these are all stereotypes, and as such imply weakness rather than strength. Is the answer, then, to invert these: to conjure female voices that are distant, or have trouble expressing feelings? I think anyone, of any gender, would have to agree that is not 'strength,' either.

After raising so many questions, I can't help but shrug at the agents, and ask them what it is that they think makes a female voice strong. The agents, sadly, generally answer this question with a form-letter rejection. I'm not sure they know the answer.

I do know that I have more work to do than simply featuring female protagonists and narrators. My voice has been male for so long--longer than I care to admit--that the narrator of Labels is likely to whine too much about some sniffles while she copes with her glimpses of wrongdoings in the gazes of others; the protagonist of Death Imitates Art risks being too focused on her painting to notice the murders going on around her; and Olivia of Olympus might just be a little bit too harshly critical of the bumbling Greek gods she is trying to defeat. Perhaps a female voice needs to rise above these typical areas of male weakness... perhaps it needs to be stronger in every way than the male voices around it.

Or, perhaps, every voice is just a voice, carrying with it all the persistence and frailty endemic to this species that women share with men.

Maybe 'Strong Female Voices' are simply those that seem the most... human.

* * *

K. Alan Leitch is an unpublished novelist in search of an agent, and the author of award-winning short fiction. You can check in on his writing, along with more of his whingeings and ramblings, at kalanleitchauthor.wordpress.com .
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Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!
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8 comments female voice, Friday Speak Out, K. Alan Leitch, writer's voice

A Strong Voice is Essential to Writing a Break-in (or Breakout) Novel

photo credit: zilverbat. Via photopin and cc

When I look at the manuscript pages people send in with their novel queries, the first thing I notice is voice. You get voice before you get anything else.

Listen:

“It’s a funny thing about mothers and fathers. Even when their own child is the most disgusting little blister you could ever imagine, they still think that he or she is wonderful.” (Matilda ~ Roald Dahl)

What do you get from that opening? Nothing about the main character. No hint about the plot. No theme, yet. But you get a good sense of the narrator's voice, don't you? Aren't you curious to read on to see what this guy says next? He calls children "disgusting little blisters" for crying out loud. That's voice.

Voice can change a story. Here are other voices saying the same thing as above:

I don't care for the fact that no matter how obnoxious children are, their parents still love them.

Parents, you see, are blind. Their children may throw fits that would make a rabid alley dog jealous, and still the parents will think they have born and reared perfect little darlings.

They's none as dear as yo' own babies. When them little tykes is bad, they jes' need lovin'.

Voice is about the tone, the diction, and the figures of speech that a character or narrator uses. Voice can tell us whether a piece will be rip-roaring or a boring, snoring snooze fest.

We sometimes think that voice can't be learned, but it can be. It is learned, in fact. Always. No baby ever came out of the womb telling stories.

We pick up narrative voice from our mothers and our fathers, from the books we read, and from the movies we watch.

So if you want to learn a certain voice, listen to it until you get the accent down.

Here are several different kinds of voices:

Voyage of the Dawn Treader ~ CS Lewis:There was a boy called Eustace Clarence Scrubb, and he almost deserved it. (Accessible and witty)

Pride and Prejudice ~ Jane Austen:It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife. (Educated and witty)

Hatchet ~ Gary Paulsen:Thirteen-year old Brian Robeson, the sole passenger on a small plane from Hampton, New York to the north woods of Canada, boards the aircraft excited at the notion of flying in a single-engine plane. (Straight reporting with no frills)

Lord of the Flies ~ William Golding:The boy with fair hair lowered himself down the last few feet of rock and began to pick his way toward the lagoon (Accessible and descriptive)

Huckleberry Finn ~ Mark Twain:
"You don't know about me without you have read a book called 'The Adventures of Tom Sawyer,' but that ain't no matter." (Uneducated)

Play around with voice. Different voices will fit different books. Keep trying until you find one that's comfortable for you and interesting to readers.

***

Sally Apokedak (Sally-Apokedak.com) is an associate agent with the Leslie H. Stobbe Literary Agency. 

Join her brand new class, Four First-Chapter Essentials for Novels, which starts on on Monday, June 2, 2014.  This course includes a private group for student interaction, four hour-long taped lectures, weekly assignments, virtual one-on-one communication with your instructor, and an in-depth critique of your first chapter by your instructor.

For information and enrollment, visit our classroom page. Early registration is recommended.

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4 comments novel writing tips, online class, Sally Apokedak, voice, WOW class, WOW instructor, writer's voice

Surviving The Ups and Downs of Being a Writer

Jayne Ann Krentz/photo by Marc Von Borstel

Last weekend, I spoke to a group of writers about the six plus one traits of writing and how to use these to improve their rough drafts and writing in general. The theme of the talk was basically everything they needed to know about writing they already learned in elementary school, or at least what we are teaching in elementary schools today--which is often the six traits. Anyway, one of the traits is voice--developing voice and writing with a distinct voice, and I was looking for a quote to kind of wrap up my talk and leave them with some inspiration as well as tie in something I talked about. And lo and behold, I found the quote below by the prolific romance writer, Jayne Ann Krentz.

"Believe in yourself and in your own voice, because there will be times in this business when you will be the only one who does. Take heart from the knowledge that an author with a strong voice will often have trouble at the start of his or her career because strong, distinctive voices sometimes make editors nervous. But in the end, only the strong survive."
                                                              - Jayne Ann Krentz

I just love this quote, and I thought it was a perfect way to end a writing workshop, where I was trying to inspire people to write and have faith in their work and their careers in the new year. It is so easy to get down as a writer: rejection letters, no time to write, bad reviews, blog posts with no comments, harsh critiques, poor sales, and so on. But the beginning of this quote is so true and what we have to do. WE HAVE TO--believe in ourselves! We have to have faith in our voice and in our work. We cannot give up. We have to get up the next morning and keep sending out manuscripts or write another blog post or send our book to another reviewer.

This business is so subjective--you'll realize that if you ever send a query letter out or a magazine submission to multiple editors. You can send out the same thing to twenty places--you'll get yeses, nos, and no response. It doesn't mean one editor is more right than another (although we want to think that!) ; there are many reasons for rejections and acceptances. But through it all, you have to believe in yourself and your work--because you are your best advocate! You are the one that sits down to the keyboard and types and creates. You are the only one with your voice. So keep writing--through the ups and downs, and you will survive!

Margo L. Dill is the author of the middle-grade (ages 9 to 12) historical fiction novel, Finding My Place: One Girl's Strength at Vicksburg. She also teaches in the WOW! classroom--mostly about writing for children. Her next class starts in the beginning of March.

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8 comments 'Quotes on Writing', dealing with rejection, Margo L. Dill, writer's voice, writing inspiration

Remaining Truly You (A Casual and Unofficial Poll)

The instructor for the writing workshop I will be attending later this month suggested that students refrain from writing or reading during the three weeks prior to the retreat to allow time to relax the writing muscle we have been using and to insulate us from absorbing other writer’s voices. This made me wonder if artists of other mediums have similar issues regarding the honing of their own their own unique expression. Do their instructors suggest they stay away from galleries or art-walks while they focus on finding their own vision? Probably not. I suppose the issue with writing is that losing oneself in a novel is a complete saturation in one voice whereas a trip to a gallery is a relatively short exposure—usually to several expressions.

I'm curious though, so here is my little survey:

When you are writing your novel (or creating your painting, sculpture, etc…) do you refrain from exposing yourself to other similar works? Do you find that exposure to another writer’s voice hinders or obstructs your own true expression or does it inspire?

Share your thoughts...

Robyn Chausse

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19 comments artistic expression, finding your own expression, Robyn Chausse, writer's voice

Finding Your Writer's Voice: Tips from Alison Dubois

Familiar yet elusive, like a dream we can’t quite remember or that shadow we catch from the corner of our eye. For many of us, this would describe our writer’s voice. The more we try to grasp it, the more difficult it is to hear. Ask any group of writers for a definition of Voice and you will probably have just as many answers. It is as if the definition must be felt, not explained; as if finding the answer is a rite of passage. Alison Dubois is ready to guide us through this passage with her course entitled Finding Your Writer’s Voice which begins August 2nd.

Freelancer, ghostwriter and award winning poet, Alison’s writing career spans over 30 years. It includes six books, an Associate’s in Journalism, a Bachelor’s in Literature and a Master’s in Creative Writing. She is with us today to shed some light on this mysterious Voice.

Hi Alison, you’ve had such an eclectic writing career; I can’t think of anyone more qualified to discuss the writer’s voice.

Some say our voice just naturally is who we are, something that develops over time. Why should we focus on developing it?

Alison: To a point what you just said is true, our voice is who we are, or at least a part of who we are. But it is important to understand that defining our voice is every bit as critical in our development as a writer as honing your writing skills are to becoming a successful writer. In some ways it’s even more important because one’s “voice” is what sets one apart from everyone else.

It is what makes each of us unique and memorable as writers. And this uniqueness often translates into salability which is tantamount to one’s commercial success. Think about how one author’s book will sell millions and another author’s book will be left unread. What makes us keep turning the page in one and close the book in the other?

It is more than just good writing. And what is good writing anyway? It is that ability to transform words into such a way as to connect to its intended audience. Good writing elevates us. A good voice however, mesmerizes us.

Or think about it this way, a person who has a “raw” talent for singing…ask them the same question why should they “develop” it? Because natural (or raw talent) ability in and of itself is rarely enough to make one successful. But when we develop our gifts and learn how to apply the skills we learn along the way, that’s when we are most successful.

True, stodgy books are rarely curled up with (smile). But before we can develop our voice we first need to define it. One of the ways you help students do this is by giving them a “series of mini writing lessons designed to elicit strong emotions”. This is intriguing...

Alison: Yes. The point of these exercises is to help the students tap into their emotions while working on their specific assignment. By using a forum (in this case students are asked to describe themselves) that is intimate and personal, the students (ideally) will be very involved with their writing and hopefully their answers will reflect that.

Would you say, then, that our voice is hidden or guarded?

Alison: I wouldn't say it's hidden, more like a shy person's personality doesn't always reveal who or how they truly are, so sometimes they have to do things to help them grow and blossom. The same theory applies here with one's writer’s voice, sometimes you have to work on it and do things to help you realize your full potential.

Alison, you’ve worked as a ghostwriter; how does this knowledge of voice help a writer in that field?

Alison: It helps a writer to be able to step in for someone not sure of their writing voice, much like a substitute teacher will help a teacher in their absence. But interestingly enough being able to ghost a body of work requires a particular skill set, in that, often you (as the ghost) have to be able to “ignore” your own voice so that you can help the author’s personality (voice) to shine through in the work.

It sounds like an important part of the ghostwriter’s toolkit.

You urge your students to find their marketing niche, markets receptive to the student’s type of writing. Talk to us a little about this.

Alison: Most students who take the class already have an idea of what type of writing they want to do. For example, one student wanted to write travel pieces so I guided her towards travel magazines that I thought would be a good fit for her style of writing.

But many writers want to write in several arenas; a little NF, some short fiction, etc... What are some tricks or tips to holding our voice while branching into multiple areas?

Alison: That's a good question. And sometimes it does get a little tricky, especially if your genre is nonfiction but you are doing technical writing. Some forms of writing are going to allow you to express yourself more, some less. But even if your particular project or work doesn't allow you to be creative, utilize your writer’s voice as you'd like, you can still keep your voice by taking the time to write in your voice when you can.

It's like a gymnast that doesn't get to train or does some type of work that doesn't allow them to maintain their physical flexibility, the gymnast then makes time on their own schedule to keep them flexible, on track, in shape Writers need to do this too.

Don't let any one tell you or persuade you not to write under the premise (and lie) that you can "always write". You cannot always write. But if you set time aside for your writing, it will happen. Writing is the kind of career that the more dedicated you are to your craft, the better your writing will be and reflect your devotion. Likewise the stronger your voice will also be.

Alison, are there any other little tricks or tips you can share here...common mistakes, pearls of wisdom, etc...?

Alison: A couple of things, read a lot, write a lot. But always write your own work. That's critical. Sometimes a neophyte tries to imitate their favorite writer and thereby loses sight of their own voice. If there is one particular author you like, ask yourself why. But be yourself. Sometimes those we admire most in a profession help us to mold ourselves professionally and there's nothing wrong with that as long as we use our work and are true to ourselves. Sometimes finding one's voice is a long journey but getting there makes it all worth it.

What would you like your students to come away with?

Alison: Confidence and clarity, confident they know their own writer’s voice and are clear on how to utilize it. It’s the fundamentals of learning who we are as writers, of being comfortable in that knowledge and then using it as a tool to successes in our life.

Well said. Thank you, Alison.

Finding Your Writer’s Voice begins August 2nd, 2010 and runs for 6 weeks. Limited to 10 students. Please visit our classroom page for information and enrollment.

Interview by Robyn Chausse

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1 comment Alison Dubois, WOW Classes, writer's voice

Editing: When is Too Much Too Much?

Have you ever written something so passionate, full of voice, fury, and fire, only to have it edited to shreds? Or to complete boredom?

I read a post on Seth Godin's blog, Sucking Out All the Juice, where that very thing happened to him---and I've heard it before.

Here's the beginning of Seth's post:

"Just got some work back from a new copyeditor hired by my publisher. She did a flawless job. She also wrecked my work. Totally wrecked it.

By sanding off every edge, removing every idiom, making each and every fact literally correct, she made it boring and dry and mechanical.

If they have licenses for copyeditors, she should have hers revoked."

Ouch! Seth sure speaks his mind. But he's a bestselling author and an idea genius. His out-of-the-box thinking is what people love about him, and the reason why they buy his books and read his blog.

So, when is too much too much?

Well, the first thing is to understand what a copyeditor does. In a nutshell, the copyeditor's job is to hit the Five C's: to make the copy clear, correct, concise, comprehensible, and consistent. Typically, copyediting involves correct spelling, terminology, punctuation, and grammatical and semantic errors; ensuring that the typescript adheres to the publisher's house style; and adding standardized headers, footers, headlines, etc.

That is a specific description that can be unspecific, depending on the copyeditor's taste and style guide. Most book and magazine editors use the Chicago Manual of Style--an industry (and a WOW!) standard. But what if your voice is so distinct that a standard guide can't do it justice? That's where the gray area starts, and your doubts about your writing style begin...

Seth Godin continues, "I need to be really clear. She's not at fault. She did exactly what she was supposed to do. The fault lies in the job description, not the job. If the job description of your lawyer or boss or editor or client is to make sure everything is pure and perfect and proven and beyond reproach, they are making things worse, not better. (Unless you're in the vaccine business)."

Pure, perfect, proven, and beyond reproach isn't what makes for an epic novel, but it surely makes for comprehensive reading. But who's the judge? Many of the classic masterpieces that have molded our literary language today have been less than perfect. Some "fictional" classics were beautifully flawed and ahead of their time, containing innovative language or ideas---ideas that shaped our society, influenced change, and revolutionized generations.

But what if you're writing a nonfiction book? Well, the boundaries are going to be a lot more strict, no matter how you look at it. Even if it is "creative" nonfiction. You could call this a case of uncreative editors, or you could break it down to an editorial standard, but how do we draw the line? Honestly, I don't know.

Seth's post continues:

"Almost everything you do has some sort of copyediting filter. It might be the legal eagle or the graphic supervisor or the customer service police. They're excellent at making round things fit perfectly through round holes.

Boring and ignored is fine with them, because no one complains.

Fortunately, copy editors have a remedy. It's a word called STET. Which means, "leave it alone, it was fine." Time to teach that to your editors, wherever they may be. Maybe there should be a t-shirt.

If all you want is safe, have baby food for dinner. Just leave me out of it."

So, what I want to know is:

* Have you ever been edited too much?

(To the point you think it squashes all the Oomph out of your voice?)

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3 comments book editing, copyediting too much, over editing, Publishing, seth godin, sucking out all the juice, writer's voice

Ask the Book Doctor: About Avoiding Fraud and Finding Your Voice

Ask the Book Doctor
By Bobbie Christmas

Ask the Book Doctor: About Avoiding Fraud and Finding Your Voice


Q: I just read a news report that Laura Alpert, who writes under the name of JT LeRoy, has been found guilty of fraud. She called her book a novel, and she’s guilty of fraud? What do you think about that? Isn’t a novel fiction? Why must the author even be known?

A: An author’s real name doesn’t have to be known, but in this case Alpert was found to be a fraud, not because of her novel, but because of her attempts to pass it off as truth. She was not indicted for writing a book she sold as an autobiographical novel based on the life of male prostitute JT LeRoy, even though the implication was that it was true, but slightly fictionalized, and that fact turned out to be untrue.

Instead, she royally messed up when she sold the rights to a production company that planned to make a movie based on LeRoy's life (not necessarily based on her novel). The movie, then, was not planned as fiction, but as a documentary of a true life. In addition, she definitely committed fraud when she had friends dress up and pose as LeRoy at book signings and had them lie to journalists about having had sex at truck stops. The author herself even posed as a troubled teen when she called a psychiatrist, possibly another publicity stunt. All those efforts to legitimize something that was not true were, I’m sure, what convinced a jury that Alpert wasn’t simply the author of a novel; she was defrauding the public by implying that the novel was based on a true story, and she didn’t sell the novel to the production company; she sold them the rights to make a movie on LeRoy’s life, with the implication that it was real.

The moral of the story is that the truth may set you free, but a lie can get you thrown in jail, fined, or both.

Q: I have often heard people speak about the writer's voice. What exactly is it, and how can I find my own?

A: Voice applies to two potential ways of writing. You can use your own voice when you write a book or article, or you can narrate through a character’s voice, and the two voices often are quite different.

As far as finding your own voice, a quick answer came from a client of mine recently. When he talks, he has a quick sense of humor and uplifting spirit. He said to me, “I spent ten years looking for a voice, and then I discovered it was mine.”

Entire books have been written on voice, but in truth my client summed up the subject of author’s voice nicely. If you have a naturally pleasant way of conversing and you use correct grammar, all you have to do is let that style of speaking pour into your writing, and you’ll find your voice has been there all along. To hear voice at work in the writing of others, read anything by William Price Fox, Bill Bryson, or Pat Conroy.

To get an idea of how voice is used when a story is told through the voice of a character rather than in the voice of the author, read Catcher in the Rye or Sophie’s Choice.

Narrative voice is vital in contemporary literature. I often hear agents say they are looking for a fresh voice, which is another way of saying they are tired of reading manuscripts that are derivative of whatever is selling at the time. Don’t try to be another John Grisham, Stephen King, or Dean Koontz. Be yourself, and you’ll have a fresh voice.

The best way to find your own voice is to relax and write as if you were writing to your best friend. On the second or third draft you’ll want to address what we call “schoolgirl writing” by substituting dashes, exclamation marks, and parentheses with correct punctuation, but otherwise, you’ll find that you’re writing in your authentic voice. In your authentic voice you won’t stretch for words you wouldn’t say in conversation, and you won’t push to write long metaphors and similes that detract from your message. Relax; your voice is already with you!

Do you have a question for Bobbie Christmas, book doctor? For a personal response, E-mail Bobbie Christmas at Bobbie@zebraeditor.com.

Bobbie Christmas is the owner of Zebra Communications, a literary services firm providing manuscript editing services to individuals and publishing houses since 1992. Contact her at 770-924-0528, visit her Web site at http://zebraeditor.com/, or e-mail her at the address above. Be sure to sign up for the free Writers Network News by visiting her Web site and clicking on “Free Newsletter.”

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Leave a Comment Bobbie Christmas, Book Doctor, JT Leroy, writer's voice