Showing posts with label voice. Show all posts
Showing posts with label voice. Show all posts

Thursday, May 5, 2016

Tapping Into Your YA Voice

by Alexandra Alessandri

If you’re like me and you write across age categories, you might sometimes find yourself muddling up the different voices in your head—even if your characters come in loud and clear. It’s only natural, I suppose. Spend enough time with one age group and you start sounding like them even if you’ve officially moved on to another. (This happens to me in real life, too, by the way!) And even if you don’t write across age categories, sometimes the voice just. Isn’t. working.


So what’s an author to do when they need to get back in touch with their YA voice?

Here are some things I do (not necessarily in this order and definitely not exclusively):

I remember my teen years
I might start with tapping into my memories. Most of us probably have pretty strong reminiscences of our teenage years. After all, it’s a time when we’re really figuring out who we are and what our place in this crazy, hectic world is. For me, those years play in the background like an old black and white film, sputtering at times, and at others, complemented by photographs and stories.

Sometimes these memories need some help getting dislodged from my brain, so I journal. I do simple prompt exercises, geared at remembering that specific time period. One of my fave memoir writing books is Natalie Goldberg’s Old Friend From Far Away. I skim through it, choosing prompts that might target memories and experiences from this specific time. Then, I write for about 10 minutes per prompt, trying to really embody my teen self. The first exercise might feel like adult me remembering the past, but the more I write about those years, the more my teen voice becomes discernable.

If you don’t have the book (or you’re struggling finding some prompts online), here are some good and useful ones:
  • I remember and/or I don’t remember
  • Where is home?
  • The first time you fell in love
  • First kiss
  • First heartbreak
  • Who was your best friend?
  • Your best and/or worst teacher in high school
  • A moment you thought you were beautiful
  • A moment you thought you were ugly
  • A moment you were in trouble in class
  • Write about a time you lied
  • Write about your biggest mistake in high school
  • Write about a relative during your teen years

The idea is to let your brain focus on a memory specifically during the teen years that fits the prompt and to write for at least ten continuous minutes without worrying about spelling, grammar, cohesiveness, etc. Just write the memory down, trying to be as detailed as you can in the voice you remember.

That wasn’t so painful--er hard, was it?

I also look at old journals
When I was a kid and all through my adolescent years, I was an avid journaler. I wrote everything down in general spiral notebooks, and when I ran out of space in one, I’d move on to another. I’m lucky I still have those spiral notebooks with my scribbles, secrets, and poems, and if I’m particularly stuck, I revisit those memories.  

I might also revisit old photo albums or yearbooks, triggering memories of my high school years.

I observe and record
Tapping into my memories is great, but it’s been (!&^*%$&#%@*^#%@) years since I was a teen.


While experiences and themes can be universal and span generations, if I’m writing about teens today, I need to be familiar with teens today. If you’re a teacher or a librarian, or if you work with teens in any capacity, then you have a golden opportunity to observe and record things teens might do or say and what technology they might use (though not actual names and specifics because laws!). You can get a sense of what rings true with today’s teen that might be different from when you were that age, or on the flip side, what holds universally true. You’ll get phrases and slang and attitudes that might escape you. And in doing so, you embrace the teen voice.

Even if you don’t work with teens, there are plenty of places you can go to observe and record. Head to the mall or the park or the movie theater or anywhere in your town/city where teens meet regularly.

Another place you might be able to observe teens (albeit in written form) is online. Social media sites like Twitter, Instagram, Tumblr, and Snapchat are great. Public online forums also work, especially if you’re looking for testimonies of teens going through specific experiences, like illnesses.

Finally, I read a lot and watch movies
As Stephen King has said, “If you don't have time to read, you don't have the time (or the tools) to write.” This is just as important to your craft as it is to your genre and age category. Read YA. Lots and lots of YA. Don’t just stick to the classics; read newly released YA and read a variety of it. If you have teens within your circle of family and friends (or within your workplace), ask them what books they’ve read recently they loved—and then go study those.

Similarly, watch movies or TV shoes that feature teen characters and read magazines tailored specifically toward teens. Study these. Compare and contrast them to the novels you’ve read and the teens you’ve observed or know.


The thing to keep in mind is that there is no one right way to tap into your teen voice and most often, I do all of the above until I feel the voice coming to me easily. I might start with remembering and journaling, but I’ll also read and observe the teens around me. I’ll also talk with teens in my life and I’ve found that they are almost always happy to answer my questions. They want us to get it right!


Happy writing!

Wednesday, February 17, 2016

Why Voice is Like a Piece of Very, Very Good Cake!



A few years ago, one of my best friends got married and, instead of a traditional cake, they served a Mille Crêpe cake which is a cake made of 20 crepes with the MOST delicious frosting between them.
As I started to work on this post, I thought of that cake (and no, not just because I’m hungry, but it WAS a seriously amazing cake). I thought of that cake because for me, those layers are similar to the creation of voice in a novel.
Seriously. Bear with me.

As a reader, I usually read - not for action or explosions or even, if I’m being totally honest, plot. Instead I read because the character telling the story fascinates me in some way and I need to get to know everything about them.

This is an amorphous kind of thing. There are many best-sellers that end up on my “did not finish” list because I just don’t connect with the voice. So I understand agents and editors when they reject based on that alone (although I certainly grumble about those rejections as much as anyone).
As a writer, my outwardly haphazard process of pantsting means that I can start drafting with a concept (but without a plot) so long as I have the VOICE. For me, plot is the reward for hard work. But the voice is either there or it isn’t. Without voice, I have nothing.

Voice is the thing that comes deep in the night when your character starts whispering things to you – I’m assuming this happen to everyone? And then, for me, it develops with each new thing I learn about my characters.

What is their economic background? Their relationship with their parents? Do they have siblings? What is their ethnicity? Their sexual / gender orientation? What are their hobbies? Their hopes? Their fears? Every single one of those determines a character’s voice.

For instance, consider this factual and rather bland sentence:  

I watched the sun set and then turned and went back to the house.

You really don’t get a feel for who is saying this, right?

How about:

I couldn’t believe the colors I saw when the sun set. Where I came from, it didn’t matter that we had four suns, the rays were all dismal shades of grey. As I turned to go back to the house, I thought of my friend and wished that I could share this with him.

OR:

I couldn’t believe that we had to wait for the freaking sun to set. I could feel my blood pressure rising as I paced back and forth on the beach, in limbo until the waves opened and swallowed the sun, freeing us to high-tail it back to the house.

Each of those are distinctly different and yet tell the same story.

So, assuming that you don’t have a muse who talks to you in your sleep, where can you turn to refine your character’s voice?

First, although this is the one I find the most difficult: pay attention to the speech patterns of the real people in your life. What are their quirks? Their verbal tics. Repeated words. Sentence length. Do they swear? Do they describe things in lush detail? How can those be revised to suit your character?

Do you write to music? Sometimes a simple change of song or musical genre can change a character’s voice.

When all else fails, READ. I usually have one or more books that are touchstones for each of my projects. If I ever feel like I’m losing my way in terms of voice, I can return to these books, not because the voice is necessarily the same at my character’s, but because that book will return me to the mood I need to be in and remind me of the cadence of my own character’s voice.

Happy Writing!

- Helene Dunbar

Wednesday, January 13, 2016

Capturing Voice!


“Didn’t love the voice.”

“Didn’t connect with the voice.”

“Nothing special about the voice.”


These or similar phrases are often used in rejection letters by agents and editors as reasons for passing on a particular query or manuscript. Conversely, when an agent or editor falls in love with a manuscript, they often comment that they, “love the voice.”

Everything that a reader sees and experiences in a novel is filtered through the voice. No wonder voice plays such a significant role in the success or failure of a manuscript.

Yet often writers feel a great deal of confusion and frustration concerning voice. It seems like such an abstract concept, hard to pin down, difficult to define. Many believe voice can’t be taught or learned; it’s inherent.

My opinion, for what it’s worth, is that voice is a quality of writing that can be taught, learned, worked at, and improved, just like any other aspect of writing.

Voice is critically linked to character and point of view. Particularly in YA novels, since they typically employ a first person or close third person point of view, a novel’s voice is often essentially the main character’s voice (or in the case of dual or multiple POVs, voices). I believe the key to voice, in this type of novel, is striving to put oneself right inside the POV character’s head and heart with each line that is written, so that each word on the page is imbued with that character’s unique individual way of perceiving and relating to their world.



What kind of words does the character use, both in dialogue and internally?
Is the character verbose or quiet?
Are there words or expressions that are unique to your character or their world?
Does your character spew their feelings in continuous stream of consciousness run-on sentences?
Or are they reserved, perhaps needing to have their true thoughts and feelings pried from them?
Do they have a sense of humor?
Do they use slang or profanity?
Sparingly or non-stop?
Are they honest with themselves?
Do they understand themselves?
Is their worldview straight-forward and logical, or is it filtered through the eye of an artist, or a dreamer?
Do they wear pinstriped suits or pajama pants?

These traits will be reflected in their thoughts and the type of words they choose and how those words are structured into sentences and paragraphs—their voice.

Below are four contrasting examples of voice from opening lines of YA novels (or in one case, a short story). Note the difference in vocabulary and sentence structure, and the resulting impact on voice in each example.


 “Crap. There’s a naked freshman chained to my locker. No. Not naked. Briefs. Not a good look, kid.”
–from Sing Me to Sleep, by Angela Morrison


“Walking to school over the snow-muffled cobbles, Karou had no sinister premonitions about the day. It seemed like just another Monday, innocent but for its essential Mondayness, not to mention its’ Januaryness.”
–from Daughter of Smoke and Bone, by Laini Taylor


“I didn’t tell anyone how dire shit had become. Yeah, maybe my old man could slip a few buck in an envelope, mail it to my Brooklyn apartment (where it might get carried off by a pack of gangster rats), but he had his own worries.”—from “Angels in the Snow,”
-by Matt de la Pena, in the holiday story collection, My True Love Gave to Me, edited by Stephanie Perkins


“This is how it all begins. With Zephyr and Fry—reigning neighborhood sociopaths—torpedoing after me and the whole forest floor shaking under my feet as I blast through air, trees, this white-hot panic.”
–from I’ll Give You the Sun, by Jandy Nelson


Like other aspects of writing, one of the best ways to learn about voice is by carefully examining voice in novels you particularly admire. What is it about the voice that works? What kind of language does the author use and what does this convey about the character, story, and mood? What makes the voice feel authentic and interesting and engaging?



Probably, though, the best way to learn more about voice is by practicing. I suggest pushing yourself deep inside your POV character’s heart and soul and viewing the world through their senses. Then, write on!

What are your thoughts on voice? What novels would you recommend as outstanding examples of voice? Any tips that have helped you better understand and improve voice in your writing?

And for some other thoughts on voice, here’s a link to a post on VOICE by my Pitch Wars co-mentor, Mónica B.W.


By Susan Gray Foster
@susangrayfoster