Right. We’ve looked at ideas and what to do with them. We’ve talked about narrative and finding the right point of view, and about developing characters and giving them dimensions.
If you’re NaNoWriMo-ing or just soldiering on with your work in progress, this is all great groundwork. Hopefully things are chugging along nicely.
But maybe they’re not. Maybe you’re at that 10k or 20k wordcount, and something just isn’t quite working. Things feel a bit sticky or stilted, and maybe you’re finding it more difficult to motivate yourself to write each day.
As our Writing A Novel students will be discussing tonight, it might well be that you haven’t quite found your voice yet. Don’t be alarmed. It happens to us all.
Voice is a sort of nebulous concept which we hear talked about a lot in publishing. People will sometimes tell you how they fell in love with a novel’s voice, but it’s more commonly cited as a problem: ‘I love the concept, I just didn’t really think the voice worked’. Sometimes it comes back to that old likeability problem, but more frequently, the issue is that the voice just isn’t believable or consistent enough.
This is important whether you’re writing in the third- or first-person. Even in the third-person, your voice needs consideration – is the narrator completely impartial, an absolute non-being, or do they have opinions and feelings which will colour the way they tell the story?
If you’ve got a first-person narrator, think carefully about the choices you make with their language: the way they phrase a sentence, the vocabulary they use, the reference points they have. These need to remain true to the voice throughout your manuscript – for example, do they speak in long, flowery sentences for periods of time and then switch to slang? Does it work to have them referencing Homer in one chapter and then Homer Simpson in the next? It may well – we’re all contradictions as people, and that’s what makes us interesting – but thinking about every element of your voice in this way will make it convincing, compelling and something for a publisher to fall in love with.
So, a couple of exercises to help with that:
- Write a transcript of an interview between you and the narrator of your novel. You can ask them about themselves, or about a particular event in the novel, or their relationships with the other characters, whatever you like (Interview them for a job! Arrest them! Pretend they’re famous and you’re Graham Norton!) – what really matters is to think about the way they speak, the way they would phrase things, the words they would choose.
- Take your first paragraph – or first page, or even first chapter, if you like – and rewrite it using the voice of another character. Try and choose someone as different as possible from your narrator (for example, you could swap an omniscient third person narrator for the protagonist, who will have a much more personal and closed view on things). Think consciously about the words you’re choosing, the details your new narrator is picking up on, and why you’re making those decisions. Now look back at the original, and think about why you chose those words, those phrases. Are they the right ones?
All of this is also going to come in handy for next week, when we’ll be looking at DIALOGUE.