Now that I’ve gone on about the more airy-fairy aspects of finding your voice, I thought I’d share how I found my own voice in my writing.
This might not be for everyone, but I found mine by writing a weekly blog-style article at Magnificent Nose. It could be about anything, from more philosophical thoughts on self-confidence, to a light-hearted piece on finding a new rice cooker. Point is, it was about my life and my things dear to me, which let the voice flow without too much thought on my end.
This is something that I’ve seen asked so many times, and I thought I’d throw my hat into the ring (as though the ring wasn’t already overflowing!). Voice (and by extension, style) is such an intangible concept, so hard to explain beyond, “Something compelling about the writing that makes me want to read on.”
I think the trouble comes precisely when we attempt to define what makes voice. It’s unique to each individual, and though it may be very different between our characters, it’s still something that’s very much you. So, how do you go about finding it if you don’t even know what you’re looking for?
I’m currently at the world-building stage for my latest YA fantasy, codenamed Broken Blade. The world (or at least area) it’s set in contains a number of small, neighbouring kingdoms. The backstory begins with the king of one of those kingdoms, Edgar, wanting to wipe out all magic users – that is, people who can draw on the power of the goddess that the local kingdoms worship.
Supplement to my article, Oh, The Humanity! on Magnificent Nose.
In the article, I talked about how I make my characters more human by exploring how they’d react in mundane situations, and taking advantage of all of their senses. So in this blog post, I’ll go through that exercise for one of my main characters in my latest novel, Broken Blade.
This is a supplement to my article on the Magnificent Nose site, where I wrote about inspiration, and how I was inspired for my new story.
The thing is, it’s very easy to be inspired, but where do you go from there? I’ve spoken to people who say that they have all these ideas floating around, but don’t know what to do with them. So I thought I’d share how I work my own ideas into something that can withstand the structure of an entire novel.Continue reading
I know, I’ve neglected this blog terribly in the past few months. But I’m about to start a new and exciting series that will be closely linked to the articles I’m doing for Magnificent Nose, an group blog I write for. Continue reading
First person is very easy to slip into just telling, because you are in someone’s head.
Don’t forget that a lot of the time, there’s things you miss. You do things without noticing you do them, and usually only know about it when it’s pointed out by other people.
One example is my main character, Serah, unconsciously calling her charge Van by another name. Because the narrative is from her POV, we only ever hear her calling him Van. What the reader doesn’t realise until Van explicitly points it out later, however, is that she’s actually been calling him by another name.
I had a lot of trouble with this in the first draft. Being in the character’s head, I ended up telling the readers her thoughts with minimal showing involved. She would say someone was a jerk, and that was it. What I needed to do was have the jerk in question do something distinctly jerk-like to any audience, then have the character get annoyed and explain exactly why that person was a jerk for doing that. It provides a deeper insight into the character and what makes her tick. The audience also gains sympathy for her as they too can form their own conclusions about the person being a jerk.
Yes, it’s hard, but it makes for a character that audiences can connect with more easily.
How do you spot when you tell instead of show? What tricks do you use to avoid it?
One of the main issues I have with characterisation is that my characters, more often than not, end up feeling like pieces moved as the plot demands and not much else. Continue reading
In the end, I planned my plot the old-fashioned way – with pen and paper.
You can see that I’ve drawn a timeline for each of my characters. It’s not obvious here, but the timeline of all the background events is the one titled ‘Rabble’. I’ve also added extra events for characters as necessary – these events are then added to the timeline of all other characters. Oh, and the first event that’s covered by a spoiler box? It’s the same event for all. This is a major plot point that affects all the characters in some way.
The last column has a dotted line around it – that’s the next major plot point, where everything and everyone is shaken up and left to fall where they will.
It’s not the most high-tech way, but it works for me because I managed to scribble it all down in ten minutes without the need to fiddle around with any programs or elements, and I can see what my characters are doing at a glance. I can also see how something that a character is doing at any given time would affect another.
But although this gives me an overview of what a character is doing, there is no indication of how the characters grow (or need to grow). You could always just add this into the timeline, but I find that it clutters it up. In the next post, I’ll explain how I decide where the characters are at emotionally and get that down on paper for reference.
So I’m stuck with the problem of planning out my plot. I know how I want it to start and to end, but as for what happens in between, I’m still working that out. In the end, I decided that I would need a timeline of sorts, but I wasn’t quite sure where to begin.
One of the first things I tried was using Microsoft Project for my timeline. You enter the action, a start date and an end date (or a start date and a duration). You can also link events that are dependent, so if the time of one event is moved back, all dependent events are moved back as well. Also, events can be grouped together under headings. Here’s what mine looked like – with the important plot points hidden, of course!
The beginnings of a plot outline
I found it had limitations pretty quickly. I can’t have linked events that happen on the same day. I can’t specify if something happens during the day or during the night – the smallest block of time is one day. I have to put each against a date, and that date has to be a standard date (an Earth date, to be precise!) In the end, it was also just a bit too complex for me. I’m usually the kind of person who prefers scribbling on a blank piece of paper.
Of course, that’s not to say that it wouldn’t work for everyone. If you had a plot stretched out over a longer period of time, if it was set in this world, if you like seeing pretty timelines and it helps you with your plot, then by all means give it a go. It doesn’t have to be Microsoft Project – that’s just what I had on my computer. Any project management software should do something similar.
In part 2 I’ll explain what I used in the end, so stay tuned!