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Write From Home
Kim Wilson
P.O. Box 4145
Hamilton, NJ 08610

E-mail: kim @ writefromhome.com

Write4Kids.com

Tips For Developing An Original Voice
by Laura Backes, Write4Kids.comóThe Children's Writing SuperSite

A story without a strong voice does not come alive for the reader, does not touch the readerís imagination. Thatís because the author isnít present in the story. This is tricky, because one of our goals as children's authors is to remain invisible. We want our readers to become so immersed in our stories that they forget an adult is behind the words. We donít want them to ever break that suspension of disbelief and realize that a person other than the main character created this tale. And yet if we remove ourselves entirely from the book it has no soul. So your author's "voice" is really that part of you thatís timeless, that reaches back across the generations and connects with the reader on his or her level. That part of you that says, "I know what youíre feeling," and says it in a way that only you can.

Voice is the simplest writing technique to learn, because itís already in you. But itís the hardest to achieve, because it involves trusting yourself. It means learning what goes into a childrenís book and then forgetting it, or rather placing all those "rules" into your subconscious and allowing yourself to write. And learning to write without that annoying internal editor who says, "Youíre doing this wrong."

All stories start with an idea. We read something in the newspaper, we have a dream, we recall a vivid childhood experience. And in that moment, that first exciting spark where anything is possible, we think, "This would make a great book."

Then we start plotting out the story in our heads. And we begin to worry about the characters and the dialogue, when the climax of the plot will take place, how it will end. I suggest that in that first moment of inspiration you stop and ask yourself, "Why do I need to write this story?" Forget about your audience. Be selfish. Whatís in it for you? You might try brainstorming on paper, freewriting where you jot down anything and everything that comes to mind. Leave that pesky editor in another room. You need to find a reason for creating this story that speaks to your writerís heart, in order to speak to your readerís heart.

Another way of looking at this is to ask yourself, "When I was five, did I need this book?" Try to answer this question from your five-year-old consciousness, which still lives inside you, rather than from your current adult perspective. If the answer is no (you wouldnít have sat still for this story) then youíre writing it for the wrong reasons. Discovering why you need to write this storyó and this applies equally to fiction and nonfictionóleads you to that passion editors talk about. If youíre writing the story or article because something inside of you needs to hear it told, then youíre writing from your heart.

However, you still need to develop a technique that translates this passion from your imagination to words on paper. And a big part of the key to developing this technique is time. With a lot of practice, your voice will emerge, if you let it. This involves spending many hours just writing, without the pressure of creating a manuscript that you intend to submit to a publisher. Donít feel every time you put pen to paper it has to result in something that youíre actually going to show to anyone else. Instead of dictating where your writing will go, allow yourself to be surprised. Write about whateverís on your mind at that moment, describe what you see through your window, follow a memory and see where it goes. This process of stretching your writing muscles with no pressure to actually create something substantial allows you to relax, and eventually your voice will emerge.

I suggest you keep these "creative stretches" and, after youíve accumulated a file, take them out and look at them all together. Seen as a group, certain things should pop out at you. If youíve really allowed yourself to write freely during these exercises without editing yourself, youíll begin to see how your writing illustrates the way you look at the world. This viewpoint, your authorís viewpoint, will be original. And while I believe that there are no original themes, there are an infinite number of original stories, or ways of examining those themes.

If you read award-winning children's books you'll notice that the prose seems effortless. This is the result of a strong voice, though itís deceiving because it takes many revisions to achieve. However, if your writing sounds forced, your voice wonít ring true. This forced tone happens when authors try too hard to sound like a writer. I think the best voices happen when authors write as they speak. We've all had the experience of a story sounding great in our heads, but then losing something when it's translated to paper. Thatís because in your head youíre telling the story to yourself in your speaking voice, and when you write it down suddenly youíre trying to sound like a writer. You search through the thesaurus for the perfect word, a word youíd never use in normal conversation. And suddenly in that process of writing down whatís in your head, youíve lost your voice. And youíve adapted the voice of someone else, or the voice you think your writing should have. So next time you write, try writing exactly whatís in your head.

If you type, try typing your writing exercise with your eyes closed, so you canít see, and edit, what you've written. Closing your eyes also helps you focus inward where the story is being created. Then all youíll have to go by is how the words sound and feel in your head, and thatís the closest thing to your true voice.


About the Author:

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers, and co-founder of the Children's Authors Bootcamp seminars. For more information about writing children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the Web at http://write4kids.com

Copyright 2001, Children's Book Insider, LLC
 

 

 

 

 


 

 

 

 

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