Tag: writing

Voice Week starts Monday – here’s some stuff you need to know

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Inspiration Monday Postponed

InMon will be postponed during Voice Week. This means you’ll have two whole weeks to write InMon pieces from the prompts I posted on September 24 before I post more prompts on October 8.

 

Voices Linked Daily

Every day, I’ll visit the blogs of the Voice Writers to read, comment and link to their pieces. I’ll reblog all the pieces on the Voice Week site, so you can go there for links to all of them!

 

…But Maybe Not Thursday

Uh. Yeah. My sister is getting married on Thursday, so I’ll be a little busy ALL DAY. And I’m not sure about Wednesday, either. If I’m lucky, I’ll get to read and link voices late that day, but it’ll more likely be Friday.

I Won’t Notice If You’re Late

We live in several different time zones. If you miss a midnight deadline, I will assume you’re on time in your time zone. In fact, I’ll probably still be linking well into Saturday. So don’t worry about it; just post when you can!

 

But what if…

Not sure you wrote exactly what I’m looking for? That’s okay. Last year, everyone interpreted the challenge a little differently, and it turned out awesome! The important thing is that we all learn from each other. I guarantee we will.

If You Aren’t Writing for Voice Week

We still need you! Visit the Voice Writers, read and comment on their voices!

Questions?

Ask me in the comments or at bekindrewrite (at) yahoo.com

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I’m confused.

Check out the rules

See answers to frequently asked questions

 

I need examples. How did Voice Week go last year?

Read last year’s voices

Read my summary post

 

I can’t wait to get started!

Still time to join in! Comment below, and…

Get your Voice Week badge!!!

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How to write in an other-worldly voice

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The robot bares his soul on paper. Photo by Mirko Schaefer.

Last week we talked about how to craft an authentic voice by listening to the voices around you and in media. But what if your character is a type of person you can’t find in any of those places? What if they’re from the future, of which we know little, or from the ancient past, before there was a written language to record how they spoke? What if they are not even human—an alien, an angel, a robot dinosaur?

What if you want a voice just as unique as the character? A voice that will blow your readers’ minds?

Here are some steps to help you create one.

NOTE: this is a list of ideas, not a checklist. All will not work for your character, and there are probably additional methods you will need. This is simply a starting point. Choose wisely, but don’t be afraid to experiment!

 

First – a few questions to get you in the mindset:

Is the narrator intimately familiar with the modern human world? Would he be able to use and understand our weird human idioms and expressions?

Imagine a day in the life of this character. What does he spend most of his time doing? How does this effect what he thinks and talks about?

If this character doesn’t speak English, whatever you write is a translation. Ask yourself what his native language is like, compared to English. Is it as descriptive? Is it more rigid? Is it simpler, or more complicated? Are there some concepts in his language that can’t be translated to English at all?

Are there human or earthly concepts he cannot understand? Does he understand gender? Light and dark? The passage of time? Physical space?

Will this story be like describing color to a man born blind, and if so, who is the blind man—the character, or the reader?

 

Now, some fun things to try:

  • Remove all idioms and clichés – or get them intentionally wrong
  • Remove any pop culture references
  • Make up pop culture references
  • Occasionally try, then fail, to describe something, then explain that human words are inadequate
  • Replace common words with words you make up, or words from an obscure human language: especially replace words that are measurements, such as in time (minutes, hours, years), distances (feet, meters) as well as days of the week, etc.
  • Change the spelling of words – think of Olde English, or 1337 (leet)
  • Remove common words like articles (a, an, the), like in The Moon is a Harsh Mistress
  • Cut words down to their roots, eliminating ings and eds and the like
  • Eliminate punctuation, using only line- and paragraph-breaks to differentiate between phrases and sentences
  • Use all the senses except sight in your descriptions
  • Describe from a sixth sense, like telepathy – bonus points if you can make up a sense nobody has thought of before
  • Don’t use adjectives
  • Don’t use pronouns
  • Write normally, then remove every fifth word and see what happens
  • Describe events at a molecular level
  • Describe events as if watching from miles away

 

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What wacky voice ideas do you have? Spill them in the comments!

 

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Other posts to help you prepare for Voice Week:

When I announced the first Voice Week

How to find your voice – explained in 5 different voices

5 fantastic examples of voice

How last year’s Voice Week went

How to craft an authentic voice through research

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How to write like someone you’re not – and still sound authentic

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This might be a little too obvious. [Photo by Emil]

 As a copywriter, I might be selling waterproof work boots to truckers one day, and giving makeup tips to fashionistas another. Maybe both in the same day. But if I’m not familiar with my audience, I have to get familiar before I write anything. You may have the same problem.

Say you’re writing about a character who is wildly unlike yourself. Maybe they’re an extreme version of some part of yourself (as all characters tend to be), but their background and lifestyle demands a manner of speaking completely different from anything you know. How do you master a voice that’s not your own?

Start by writing down everything you know about the character whose voice you need to create. Personality traits, occupation, hobbies. Then, prepare to research. You must immerse yourself in the voice you seek to emulate, much like living in a different country to learn the language. Here’s how:

 

Online communities

My number one resource for getting into the heads of my audience is the Internet. You can find a blog or forum for just about any group of people – I have stumbled across communities for everything from anorexics to Satanists, to Jews who love bacon (those all purely by accident). Look up social websites centered around your narrator’s profession, hobbies, even medical or psychological conditions. Do this by Googling your subject with words like blog, forum, community, online support group, tips, terminology, handbook, dictionary (i.e. “spoon-collector’s forum” etc.). Take it a step further by asking yourself what products your character would buy, then find the Facebook page of a company that sells said product, and read the fan comments. Google the definitions of terms you don’t know. Bookmark the sites you find and reference them frequently.

Books

Probably the most obvious way to familiarize yourself with a voice is to find a book narrated by a character who is like yours, or at least one that has a lot of dialogue by a character like yours. Type out a few pages of the narrative/dialogue to help give your fingers and your brain a feel for the flow of the language. Reach outside fiction, too – read the memoir of a real person who is similar to your character. If you’re writing period fiction, read something that was actually written during the time period in question.

 

Movies & TV

Can’t think of a book that has your character type? Try thinking of a movie or TV show that does. Find some quotes from that character on IMDB – and again, type them out to get a feel for the voice.

 

People watching / eavesdropping

Find a public place where you’re likely to find the type of people you’re writing about. If you’re writing about a college student, hang out in a coffee shop by the closest college campus. If you’re writing about a factory worker, eat lunch at a diner close to a factory, or check out a nearby bar at happy hour. If you’re writing about children, offer to baby-sit your sister’s kids, or hang out at the playground of your local park (just bring a friend with you so people don’t think you’re a creeper). Shop at stores your character is likely to shop at. Visit a church or synagogue they might frequent. Listen to snippets of conversation around you, and surreptitiously write them in a notebook.

 

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Where do you find the voices of your characters? Tell me in the comments!

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Dates for Voice Week 2012!

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Yes folks, Voice Week is back—and we’ve got less than two months to get ready for it.

 

What is Voice Week?

Voice Week is the time the InMonsters (and anyone else who wants to join in) all step outside the voices we are used to and try writing something new. We’ll each write five different 100-word pieces—each piece told in a different voice. We’ll post a piece a day, Monday through Friday, in the first week of October. Then we’ll hop around to each other’s blogs, reading, commenting, learning, and offering constructive criticism. There’ll also be a prize or two awarded to randomly-selected voice writers (exact prize(s) to be announced soon).

 

What is voice?

Voice is the personality infused into your writing—from the words you choose, to the structure and rhythm of your sentences, and other little details, like whether you add accents or grammatical errors on purpose. Different narrators have different voices. An old man will choose different words and arrange them differently than a teenage girl will.

 

Why do I need a unique voice?

Your voice sets you apart from every other writer. Voice is the quickest way to help your readers get to know your narrator—and it’s more effective than exposition. Voice is one of the biggest ways you show (don’t tell) your narrator’s personality. An intriguing or amusing voice can keep readers reading even when not much is happening with the plot. 

 

Why do I need to practice different voices?

Your voice may change depending on the story you are writing. Maybe your novel is a brooding literary piece, but you’re also writing a short adventure story that requires a whimsical wit. Even if you don’t cross genres, your protagonists may be different. A boy or a girl, an adult or a child. An angel or an alien. A person from the seventeenth century or the twenty-seventh. They all require different voices. The more unique and authentic, the better.

 

But what if I write in third person?

All narrators have voice, whether they are characters in the story or not. Think of your favorite third-person writers and how different they sound from one another. Is the tone dark, or light? Clean and sharp, or thick and introspective?

 

How do I become a part of Voice Week?

  1. Leave a comment telling me you’re in! Be sure to include a link to your blog so I can add you to the Voice Week blogroll.
  2. Write something about 100 words long. You can use an InMon prompt, a Voice Week prompt, or even a piece you wrote a long time ago. HINT: It might be easier if it’s in first person, but it’s up to you.
  3. Rewrite that piece four times. Change the personality of the narrator each time. The goal is to write with five different voices. The benefit of using the same story/scene/situation is that we can focus on the difference in the voices. Whether you simply change the personality of the same character five times, or write the same scene from five different characters’ points of view, or only write similar situations happening to people in five different centuries—it’s all up to you.
  4. Come October 1, start posting, and link back to the Voice Week homepage with each post.

 

I’m confused.

Check out the rules

See answers to frequently asked questions

 

I need examples. How did Voice Week go last year?

Read last year’s voices

Read my summary post

 

I can’t wait to get started!

Comment below, and…

Get your Voice Week badge!!!

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Stay tuned: in the weeks leading up to Voice Week, we’ll be digging deeper into voice, what it is, and how to find yours.

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The Diamond-Buyer’s Guide to Writing a Literary Gem

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Photo by Steve de Polo

When determining the value of a diamond, gemologists look at four factors, collectively known as the Four Cs. By a convenient coincidence, all four coincide with important points of writing. So here are a few pointers on writing a novel that shines.

Carat – the size or weight of the diamond.

Do your plot and characters have enough weight to carry the story? Does enough happen to your hero, not just physically, but emotionally, that the story is worth writing and worth reading? If so, proceed. If not, it isn’t worth the cost. Dig deeper.

 

Clarity – how many inclusions (little black dots) are in the diamond.

Unclear wording slows down your reader – and thus the story, and keeps the light from shining through. Bummer. Look back at 47 ways to find and eliminate inclusions in your writing.

 

Cut – If a diamond is cut too long, the light will bounce sideways off the lower facets. Too short, and the light just falls through. But just right, a la Goldilocks, and the light reflects off the lower facets directly into the eyes for optimum sparkle.

Just so with editing. “They” say to cut anything that is not necessary to the plot. But a novel cannot live on plot alone. Character is just as important. Check every scene to ensure it contains two or more of the following elements:

  • Establishing character
  • Advancing plot
  • Foreshadowing events
  • Braiding in subplots

If you find a scene that doesn’t have two or more elements—and you can’t manage to work a second element in—cut it. If there was anything important in that scene, extract it and work it into another existing scene.

                       

Color – the purer white it is, the more iridescent the shine.

In writing, that pure whiteness is honesty. Yes, you are writing about made-up people in made-up situations, but you still must be emotionally honest. About how you see the world. About what keeps you up at night. What you fear. What you long for. What hurts most. And why you keep on fighting. When you’re writing that first draft, don’t try to be eloquent. Don’t try to impress your readers. Don’t preach at them. Just climb into the head of the character who’s telling the story. Then reach into your gut and vomit your feelings on the paper. The worst and the best.

That’s when the precious gem emerges; when you’re not trying to create a feeling, but to express one. As Ray Bradbury says, “when a man talks from his heart, in his moment of truth, he speaks poetry.”

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