Before I got into writing, I was very interested in visual arts. When I took drawing in college, especially life drawing, it used to frustrate me when teachers would look at my drawing and say, “Don't copy the model!” It made me want to scream, “Then what the hell is she sitting there for, if I'm not supposed to copy her!” I finally said, thankfully calmly, “Okay, if I'm not copying her, what am I doing?”
“You're making a drawing,” the teacher said. “A pleasing arrangement of lines and shapes.”
Finally, a goal! I won't say I always achieved it, but at least I knew what I was supposed to be doing.
In writing, one of my goals is to achieve control of my voice. I can achieve a distinctive voice for some of my characters, but I don't have as broad a range of voice as I would wish. Snarky is easier to do than nice, somehow. I wonder why that is? -)
A writer I really admire whose works illustrates perfect control of voice is S.J. Rozan. She writes mysteries with two detectives, Lydia Chin and Bill Smith. Lydia is young, female, and first generation Chinese American. Bill is older, male, and white. Rozan is, I think Jewish (I'm guessing based solely on her real name, which is Shira Judith Rosan), and except for growing up and living in New York City, she doesn't seem to have much in common with either Bill or Lydia, background-wise, but she nails the voice for both of them. Rozan alternates POV characters not chapter by chapter but book by book. The first Bill and Lydia book was China Trade, which is narrated in first person by Lydia. The next book, Concourse is also first person, but it's told by Bill. I think there are more Lydia books that Bill books, but only slightly.
The books are all good mysteries, and they all have a strong sense of place (some have to do with buildings, because Rozan was an architect), but it's the voice that stands out for me. I don't think I'm alone in that feeling because the series started in 1995, and it looks to me like they're all still in print. I would take that track record any day.
So, what writers do you think have the best range for voice— not just writing with a strong voice but being able to do different voices?
“You're making a drawing,” the teacher said. “A pleasing arrangement of lines and shapes.”
Finally, a goal! I won't say I always achieved it, but at least I knew what I was supposed to be doing.
In writing, one of my goals is to achieve control of my voice. I can achieve a distinctive voice for some of my characters, but I don't have as broad a range of voice as I would wish. Snarky is easier to do than nice, somehow. I wonder why that is? -)
A writer I really admire whose works illustrates perfect control of voice is S.J. Rozan. She writes mysteries with two detectives, Lydia Chin and Bill Smith. Lydia is young, female, and first generation Chinese American. Bill is older, male, and white. Rozan is, I think Jewish (I'm guessing based solely on her real name, which is Shira Judith Rosan), and except for growing up and living in New York City, she doesn't seem to have much in common with either Bill or Lydia, background-wise, but she nails the voice for both of them. Rozan alternates POV characters not chapter by chapter but book by book. The first Bill and Lydia book was China Trade, which is narrated in first person by Lydia. The next book, Concourse is also first person, but it's told by Bill. I think there are more Lydia books that Bill books, but only slightly.
The books are all good mysteries, and they all have a strong sense of place (some have to do with buildings, because Rozan was an architect), but it's the voice that stands out for me. I don't think I'm alone in that feeling because the series started in 1995, and it looks to me like they're all still in print. I would take that track record any day.
So, what writers do you think have the best range for voice— not just writing with a strong voice but being able to do different voices?
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Piffle. The model can be there, and I'd draw a tic-tac-toe board. It is, after all, a pleasing arrangement of lines and shapes.
p.s. I thought I was the only one who still said piffle!
Oh, I write 'piffle', but I say another term that starts with bull.
But, now that I write, when I hear about a situation-- a new invention, a weird family configuration, almost anything-- I think about it in terms of how could I use that in a story. I find that the more I write, the more ideas I get.
Mental exercise is good for you, too!
It's rare to find an author who can sell a very young protagonist in an "adult" book. Good for him!
Voice--I don't know that I'll ever be able to truly know the why behind the how. I've been told my characters all have distinct voices, and that my BEST is when I'm writing young men around the 20 age range, whether in contemporary or fantasy settings.
Hmm. 20-year-old guys? Makes you wonder if there's anything in the whole reincarnation thing! --)
You did a great job with Finder. I have not read anything else. OH!!! I'm emailing you right now.
;)
I like Tolkein's voices, especially for the 'minor' characters, like the goblins and trolls in The Hobbit.
I wonder though, how much of the voice is also down to the reader. After all, we make up our own image of what a character looks like (albeit with a little help from the author).
I don't think the writer can do much about that except to accept that there is nothing every single person likes.