Feedback is a crucial part of a writer’s efforts to grow their craft. I’m sure we’ve all had that moment when someone said something about our writing that pushed it to the next level. Hard to hear but exactly what we needed at that time. Maybe they introduced us to the concept of filter words or deep POV. Maybe they told us that our dialogue sounded like writing and not people talking. Or maybe they pointed out we were dumping in our world building instead of sprinkling it in.
But one of the trickiest things when it comes to feedback, is knowing how to apply it. Sometimes you are told something isn’t working– but aren’t sure what you need to do to change that.
This is particularly true when the feedback comes from industry professionals like agents or editors. They often don’t have time to explain why something isn’t working– just that it isn’t.
So to kick off 2022, I’m going to write a series of blog posts on how to apply some of the most common critiques of fiction writing. And this first post relates to the topic of voice.
Voice. That elusive gem of a skill that makes all writers quake. We all know it when it find it– when we read a story and feel like a real flesh and blood person is talking to us and not a character. But how do we manufacture it? What do you do when someone says, “It lacked voice.” Or the dreaded “The voice didn’t grab me.”
Know your character well and make sure your narrative reflects who they are
Who is your character? What do they care about and notice? What lies do they believe and where did they come from? Are they bubbly? Reserved? A smart arse?
So often we can answer all those questions. But if someone was to read a paragraph from that characters POV– none of this would come through. Because we are writing the story as if we personally are riding along with the protagonist describing events, rather than letting the characters voice do it for us.
Let who they are dictate how the story is told. Are they an artist? Then they will likely use highly specific colour names. Are they are builder? Then they might comment on a buildings structure or what materials it’s made of. Are they a kid? Then (unless they are unusually precocious) they won’t use grown up words like…well, precocious.
The first thing to do to work on voice is to get to know your character. Strengthening them will only help your story– and writing as them and not you will start to give them voice.
Write like your character is speaking to a close friend
Imagine I visited a friend’s new house for the first time. How might I describe it? I might say how many rooms there are, bring up that it’s a corner block and the backyard is small. I might say that it’s brick with cream trimmings.
But how would I talk to my sister about it?
For one thing- I’d draw on our shared experience. Id talk about how it had the homely old-fashion feel of Nan’s place. I’d talk less about the cosmetic details and more about what mattered to me- like how it had a gorgeous fireplace and how much I was looking forward to hanging out with my friend there on cold winter nights. But I’d also talk about how it made me feel. About how the meticulous condition made me feel like a house-keeping failure or how I nearly cried seeing my friend finally find a home after a rough couple of years.
This isn’t a question of using slang or casual language. It’s a question of intimacy. Part of the beauty of voicey prose is really getting a window into a characters soul. So next time you are struggling with voice- imagine the character speaking to a friend.
It also helps with distance– an issue that will come in another post.
Get Out of your Own Way
Part of the issue I suspect with voice is confidence. We are trained from an early age to write in a formal way. We want our words to sound pretty. We have a narrative style that probably got us A’s through highschool and we don’t want to mess with that.
Writing with our characters voice can be an intimidating change, and can feel awkward when we first try it.
If you suspect you have more voicey prose in you, but are nervous that it will sound weird or wrong, I recommend writing something outside of your story. Maybe a backstory scene. Something that will never makes its way into the story itself, so the pressure is off to make it perfect.
Then, once the voice is settled in your mind and you are comfortable with it, you can go back to your novel and incorporate your new voicey style.
If you can write compelling, voicey dialogue then you can write compelling, voicey narrative. So give yourself permission! Get out of your own way and give it a try!
But sometimes, sadly, it’s just not a good fit.
Sometimes it’s not that the character lacks voice and that’s why it didn’t grab the agents interest. Sometimes there is voice for days! But just like we all have different taste in books, sometimes we have different taste in voice too.
So if you are confident in your voice and if betas love it, then don’t despair! It might be that the next agent is the one that can’t resist your work.
I hope this post is helpful. And if there is some mysterious feedback that you would like me to cover, please let me know in the comments.