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What is Author Voice?

September 23, 2024

One of the most common reasons authors push back against suggested edits is author voice—they’re convinced that everything they write is part of their voice, therefore any edits will change their voice.

That’s partly true, in the same way that a voice teacher changes a singer’s voice.

Professional opera singers spend years training and fine tuning their voices, not because they’re terrible singers, but because they don’t want to be good opera singers. They want to be great. They also want to strengthen their vocal muscles so they can enjoy a long, productive career.

How, then, do authors train, strengthen, and fine tune their voices? It starts by understanding what we mean by “voice.”

An Author’s Voice

Simply put, an author’s voice is his or her unique perspective on life. That perspective manifests itself in how the author writes.

For example, if I set a painting on an easel and asked five authors to describe it, their interpretation and expression of that painting is their voice. That does not mean, however, that the writing is without errors or weaknesses.

Fine Tune Your Voice

Before you start training and strengthening your voice, you need to figure out how to do it. That means finding out your weaknesses so you can strengthen them.

If your editor says you have too much telling in your book, don’t try to justify the telling. Instead, ask for examples of unnecessary telling and suggestions for eliminating it. If your dialogue is boring, your characters are stereotypical, or your settings are bland, learn how to change it.

As you learn and apply good fiction-writing techniques, your voice won’t change into someone else’s; it will become a clearer expression of you.

Training & Strengthening Your Voice

Once you’ve fine-tuned your voice, it’s time to train it. You train your author’s voice the same way you train any muscle in your body—practice.

Vince Lombardi is often misquoted as saying, “Practice makes perfect.” What he actually said was, “Practice does not make perfect. Only perfect practice makes perfect.” A quarterback won’t improve if he throws the ball wrong over and over again; he improves when he corrects his form and practices the new improved technique.

The same is true for writers.

If you don’t implement the fiction-writing techniques you’ve learned, you will simply train and strengthen the bad habits you already have. But as you incorporate more engaging techniques over and over again, you will train yourself to show without so much effort. Like a professional quarterback, you’ll develop muscle memory that will write stronger, clearer voice with each story.

The Hard Work

Opera singers don’t rehearse until they get a part in a show, then stop. Professional football players don’t practice every day until they sign a contract, then stop. Successful pros never stop training—neither do success authors.

Your muscle memory will never be perfect, and sometimes life will distract you from completely focusing on your writing. That’s why authors with 10, 20, or 50 books published still work with editors. They continue to ask other professionals to help them find weak spots so they can continue to strengthen their stories and writing skills. The continue to strengthen their voices.

Author voice is the most natural aspect of writing while also requiring dedication and hard work to make it shine. The effort, however, is worth it.

If you have questions about author voice, leave a comment or contact me at karin@writenowedits.com.

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

Categories: fiction writing tips Tags: author voice, how to write a novel, how to write fiction, writing fiction, writing novels

Conflict, Suspense, and Tension in Fiction

May 20, 2024

Conflict, suspense, and tension are not the same things. They’re often used interchangeably, but they shouldn’t be. Each one of these has a different role and performs a different function in fiction.

Conflict

New writers tend to believe that conflict means “argument,” as in having a conflict with someone else, but it’s much simpler than that—conflict is anything that prevents your characters from achieving their goals.

A conflict can be a person, event, or inanimate object. A conflict can be a seemingly good thing. As long as it gets in your character’s way, it’s a conflict.

Say your MMC (male main character) wants a promotion at work. The promotion should be a sure thing, but that would make for a boring story. It needs conflict. Anything that prevents him from getting the job will work. It could be:

  • A person: Someone else wants the job. That person has become a conflict.
  • An event: Your MMC needs to attend a company event to get the promotion, but it’s the same weekend as his wedding. His wedding is now a conflict.
  • An inanimate object: MMC’s fiancé agrees to change the wedding date, but his car stalls in the driveway. Then, on the way to the airport, a tree falls into the road. His car and the tree have now become conflicts.

Suspense

Readers and writers alike think of police, spies, and murder when they think about suspense, but they’re confusing suspense with danger. In the suspense, thriller, and mystery genres, the police, spies, and murder might create suspense, but in and of themselves, they are not.

At its most basic level, suspense is delayed gratification.

Let’s look at our MMC again. If he gets the promotion in chapter two, there’s no suspense because there’s no delay. But put conflicts in front him—make him and the reader wait to find out if he’s getting the job—and you’ve added suspense.

Each of the conflicts mentioned above adds more suspense.

  • Instead of a quick interview process, now the boss has two candidates to interview. That will take longer. Suspense.
  • MMC and his fiancé push back the wedding for the sake of his career. A delayed wedding equals more suspense.
  • A quick 30-minute trip to the airport is delayed by his car and the tree. Double suspense.

The longer it takes your characters to achieve their goals, the more suspenseful the story.

Tension

Our final piece of the confusion trifecta, tension is the term people tend to swap for conflict and suspense, but it’s actually another layer of complexity in your story.

Tension is created by your characters’ reactions to conflict and suspense, and it should lead to a sense of unrest or imbalance.

If life is going well for your characters, there’s no tension. Toss in a conflict that creates suspense, and it will yield tension. Let’s go back to our MMC’s promotion. Where does the tension come from, and what does it look like?

  • MMC’s relationship with the person going after his promotion will change. The situation might also change his relationships with coworkers. Someone else applying for the job has created tension in the workplace.
  • After rescheduling his wedding, MMC’s relationship with his fiancé will change, especially if one of them didn’t want to move the date. It’s the perfect place to add tension in the romance.
  • Whether or not the MMC makes it to the airport on time, his car and the tree are excellent reasons to increase tension—he could lose faith in his mechanic and begin resenting the neighbor whose tree blocked the road. Whichever way you write it, let unrest be the goal.

Regardless of the genre you’re writing, your story needs all three of these elements: conflict, suspense, and tension. Your reader will enjoy seeing how long it takes your characters to achieve their goals and seeing how the conflicts change them.

If you have questions about these, leave a comment or contact me at karin@writenowedits.com.

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

Also check out:

The Omniscient Point of View
First- or Third-Person Point of View

Categories: fiction writing tips Tags: fiction writing, how to write a novel, how to write fiction, novel writing tips, writing fiction, writing novels

The Omniscient Point of View

March 20, 2024

Once the go-to point of view for novels, the omniscient POV isn’t as popular as it once was, but it’s making a reappearance in modern fiction. Many authors assume omniscient is easier to write because of its broad range—you can jump into any character’s head at a time—but that’s actually what makes it so difficult.

What is Omniscient POV?

The omniscient perspective is the eye-in-the-sky, all knowing perspective that allows the reader to see any character at any time in any location. Even though it’s written using third person pronouns (he, she, they), it’s a shallow perspective. It doesn’t show the characters’ emotions or thoughts at a deep level because, even though the narrator knows what each character feels and thinks, the narrator doesn’t experience those feelings or emotions.

The difference between third person and omniscient POVs can be seen in the difference between listening to an explorer tell about his adventures and listening to a reporter tell about an explorer’s adventures. When using third person, authors live inside the point-of-view character, so they show everything as if they’re experiencing it. When using omniscient, authors observe the characters, so they show everything as if they’ve observed it.

How is Omniscient Different from Head Hopping?

The difference between omniscient and head hopping lies in the details. In the omniscient perspective, each scene shows what the narrator observes, which can include observing characters in different places in the house, city, or state at the same time. Head hopping, however, uses the third person perspective, showing each character’s emotions and thoughts, without including scene breaks to distinguish a POV change.

Why Does the Narrator Matter?

What truly sets third person and omniscient POVs apart is the narrator voice. In third person, each scene is shown from one character’s perspective, and each of those characters has a unique voice. Their upbringing, education, and life experiences determine their vocabulary, tone, and rhythm. Chapters in a male POV will sound different from chapters in a female POV. Scenes in a homeless dropout’s POV will sound different from scenes in a trust fund kid’s POV. In third person, each POV character has a unique voice.

In omniscient POV, there’s one voice—the narrator’s voice. It doesn’t matter if the narrator is describing male or female, young or old, rich or poor. The words and style used by the narrator to show each scene will sound the same. This isn’t a diverse perspective that shows how different races and genders view the same situation. It’s one perspective for all things.

When Would You Use Omniscient POV?

The omniscient perspective works well in stories where the focus is on the big picture and not on individual characters. Romance focuses intensely on the emotions and thoughts of a few specific characters; it’s the perfect genre for third person. Any type of coming-of-age or personal growth drama should consider third (or first) person. Mysteries and suspense—when the reader wants to see and feel exactly what the protagonist and antagonist feel—should stick with third. These all focus on the characters.

Omniscient works well in books that focus more on setting or theme. I don’t mean setting in the sense of the house a character lives in, but the whole setting—time and location. You see these frequently in historical and speculative genres. For theme, look to literary fiction.

For example, consider a novel that shows the lives of fifteen soldiers serving in Operation Desert Storm; the emphasis isn’t specifically on one character but on what this group of characters experienced during the early 2000s in the Middle East (time and location). Omniscient also works well when introducing a cast of characters in a made-up world (location). If a is story less concerned with how a character changes in a book and more interested in how that character observes and experiences forgiveness throughout her life (theme), omniscient can work.

This does not mean you can never use omniscient in a women’s fiction novel and you can never use third person in speculative fiction. These are merely examples of genres that work well with the omniscient POV. I’m seeing it more often now in modern fiction, so understanding its strengths and weaknesses can help you decide if it’s the right POV for you.

If you have questions about omniscient or any points of view, leave a comment or contact me at karin@writenowedits.com.

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

For more information on point of view:

First or Third Person Point of View by Karin Beery
Writing Deep Viewpoint by Kathy Tyers

Categories: Best Practices Tags: fiction genres, how to write a novel, how to write fiction, omniscient POV, point of view, POV, third person POV

Write Better Characters: How to Strengthen Goals and Motivations

September 18, 2023

Characters are, of course, the lifeblood of fiction. All the twisty turny plot elements in the world won’t matter to readers if they are not bonded to a character they care about.” Just Write by James Scott Bell

Characters are the heart of any novel. If readers don’t connect with and care about your characters, they won’t keep reading. So how do you help your readers connect? By strengthening your characters’ goals, motivations, and conflicts (GMC). The easiest way to strengthen a GMC is to make sure it’s specific to your character.

Writers often start with goals and motivations are that are too general.

Goal: to buy a house.
Motivation: they’re sick of renting.

The problem with that goal and motivation is that they could apply to millions of people. Strong GMCs can only apply to your characters. There’s something so specific about the goal or motivation that it couldn’t possibly apply to anyone else.

An excellent example of a strong goal is Kenya’s goal is the movie Something New. The movie opens with her having drinks with three friends. The conversation eventually turns to men, and Kenya—a successful single Black woman—admits that she’d like to find a man, but she’s holding out for her IBM: her Ideal Black Man.

Her motivation is somewhat generic. Like many people, getting married is eventually part of Kenya’s plan. It’s her very specific goal, however (to find her IBM), that helps the audience understand her conflict—the kind, successful man she meets on a blind date is white. Without knowing her specific goal, Kenya comes across as either racist, irrational, or both. Because of her goal, however, the audience understands her conflict.

Another way to strengthen a GMC is to individualize the motivation. An example of a character with a specific motivation is Charlotte Atherton is Karen Witemeyer’s A Worthy Pursuit. Charlotte’s goal is to teach gifted children. There’s nothing particularly unusual about that. It’s her motivation that makes her stand out.

Charlotte was a piano prodigy as a child, and her father took advantage of her talent to make himself famous. When she grows up, the first man to show interest in her wasn’t actually interested in a relationship with her; he also wanted to take advantage of her talent. Those experiences fuel her motivation—to protect gifted children from being manipulated by and taken advantage of by others.

Without understanding Charlotte’s motivation, it’s impossible to understand why she flees to the woods and hides with three students when the school she teaches at unexpectedly closes in the middle of the night. Without understanding her specific motivation, Charlotte’s reaction to the school closing looks overly emotional at best and like kidnapping at its worst. Her specific motivation, however, makes her relatable.

By creating goals and motivations that could only belong to your characters, you’re allowing the reader to better understand and better relate to your characters, which makes the reader want to keep turning the page. Keep them turning the page.

What are your characters’ goals and motivations? How can you make them more specific?

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

Categories: fiction writing tips, Uncategorized Tags: characterization, fiction writing, how to write fiction, strong characters, writing tips

The Satisfying Ending

June 26, 2023

Image by Gerd Altmann from Pixabay.

Most writers are familiar with the Happily Ever After (HEA), but not every genre—and not every story—needs an HEA. In fact, every story needs the same type of ending: the Satisfying Ending.

Writers and readers often debate whether or not stories need happy endings, but the debate is almost always based on personal preference. That’s why it’s so important to understand genres and what each genre expects from its stories. The people who read those genres will expect a certain type of ending, and it’s up to the writer to provide it.

What is a satisfying ending?

It’s an appropriate ending.

In a mystery novel, the sleuth figures out who did and apprehends the bad guy. In suspense, the good guys win. In romance, the couple comes together and commits to the relationship. In a Nicholas Sparks book, someone dies.

Appropriate doesn’t mean predictable though.

The criminal might not be one person; it could be several (Orient Express by Agatha Christie). The good guys win, but they don’t all survive (the movie Armageddon). The couple commits to each other, but it doesn’t necessarily mean they get engaged or get married (The Bodyguard by Katherine Center). The person who dies isn’t always the hero (Save Haven. Seriously, though—I’ve read four Sparks books and someone dies at the end of all of them).

If you’re not sure about your ending, ask someone familiar with your genre. Your seemingly sad ending might be exactly what your story needs.

Still not sure? Reach out, and let’s see how I can help: karin@karinbeery.com.

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

Categories: Best Practices, fiction writing tips Tags: fiction writing, fiction writing advice, how to write fiction, novel writing advice, writing fiction, writing novels

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The Fine Line Between Good & Great

December 20, 2024

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What is Character Voice?

October 22, 2024

What is Author Voice?

September 23, 2024

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