Your Story, Your Spin

Voice: “Voice is the author's style, the quality that makes his or her writing unique, and which conveys the author's attitude, personality, and character; or, Voice is the characteristic speech and thought patterns of a first-person narrator; a persona.” –About.com

Style: “Style…is basically the way you write, as opposed to what you write about... It results from things like word choice, tone, and syntax. It's the voice readers "hear" when they read your work…To an editor, on the other hand, style refers to the mechanics of writing, i.e., grammar and punctuation…” –About.com

Treatment: Never heard of this one? Author Dave Farland puts it best: “The treatment is the way that you choose to tell your story. It’s your personal spin as an author, the unique way that you choose to tell a story. It includes many of the elements that you’ll learn about in writing classes in college—such things as the use of character voices, choices in metaphors, character voices, the tone of the story, and so on. It even includes all of the elements of your personal style, your personal word choices, your phrasing, the lilt of your own voice—things that you don’t even think about and perhaps cannot change.”

Voice, style, and treatment are all rolled together. It’s the essence of you as a storyteller. Finding your voice is an exciting journey. Your treatment of the story sets that story apart from all others because it’s the essence of you as a storyteller.

There are guidelines and rules of grammar, punctuation, even story structure. When someone breaks those rules we tend to attack in a bloodthirsty pack. Yes, sometimes we’re critiquing a newbie who doesn’t even know the rules yet. But--I wonder how often we make this assumption of someone we don't know well yet. Perhaps that person isn’t as green as we think. Perhaps what we are assuming and harping on is in fact that person’s treatment of the story. (The bloodhounds freeze mid-air.)

A post on critiquing and beta reading will be forthcoming this month, I promise.

Some writers have achieved notoriety and even their brand name based on their rule-breaking story treatments. But breaking a rule just to break it or to make a sensation isn’t what we’re supposed to strive for. In these aforementioned instances, we’re looking at a writer’s style. Don’t be a copycat for the sake of sensationalism. Don’t rule-break for the sake of trying to make a big splash. You betray your natural voice by doing so.

How do you find and recognize your own voice or style? Writers agonize over the question. They look for the magic incantation to give them instant voice. Your voice will be like you, individual, unique, and something not naturally duplicated. We can emulate other’s voices for practice. I’ve heard of writers who take the time to copy out of books in order to get a handle on that author’s voice and style as an exercise. Sometimes we find we echo the voice of a book we’ve just read or that influenced us a lot.

Your voice is your take on the world, your vision, your way of saying things. Don’t be afraid to be yourself, especially when you analyze feedback from readers. Critiques are good for writers. They show you where flaws and common problems lie in your manuscript. They show the unclear parts, the boring parts, the questions that rise, as well as the frustrations on the part of the reader. Sometimes there is a tendency to try to replace your words with words the reader would have chosen first, to alter dialogue or description to the style of the reader. And yes, sometimes punctuation and grammar become a stylistic issue.

I don’t profess to be an expert. I’m not going to nitpick over all the instances that could arise. I will say that you need to stay true to your voice. Stick with your words, your style (unless the word you picked is completely wrong. I once had a glaring typo using “taunt” for “taut” that needed fresh eyes to point it out to me.) Remember that reading is a highly subjective process. Some readers will embrace and love your style; others won’t find it to their liking.

And don’t confuse your treatment of the story for glaring errors such as plot holes, info dumps, and clichéd characterizations. There are some writers who take great offense to any feedback and sum it up to the reader’s failure to recognize their voice, when the issues pointed out had nothing to do with voice.

Keep guard on the voice in your head. What sounds good in the silence of the mind may not translate well through the vocal chords. Use your brain and your tongue to smooth out your words, to articulate the story treatment the way you want and need it to be.

Voice and style go through a maturing process over time. They alter and change with each new story you write, much like your increasing skills in the art of writing craft. Avoid the pitfalls of comparison. Voices shouldn’t be compared. Someone from Tallahassee will have a different treatment than someone from Boston, Shanghai, or Glasgow. Age, gender, culture, life experience, personal philosophy, and even religion will alter one voice from another. Some styles appeal to larger masses of people than others. Trying to make yourself into one of these when your not can kill a writing career.

What about agents and editors? What about booksellers, librarians, and other gatekeepers?  If one is to get published, one needs to produce the treatments They want. Subjectivity, the arm of Fate extended toward writers, is either one’s friend or enemy. Going through careful research when submitting work for publication helps. Recognizing that some treatments will not gain admittance should not deter a writer from writing. Not if you write because you must; if your love of storytelling overrides fame, money, and all the glories of being published. Yes, we’ve probably missed out on some fabulous voices. We’ve all scratched our heads and wondered at other voices that rocket to the top of the lists—voices we don’t care for.

At the end of the day it may be you alone with your manuscript, kicking back and enjoying a tale told in your style. If you’ve stayed true, the words will delight you, the story will carry you away from reality, and a deep sense of satisfaction will cover you like a quilt. There’s nothing wrong with that.

If the Subjective-Powers-That-Be love your voice, you’ll be on your way to publication and possible mass-acceptance.

The important thing is to cultivate and stay true to your voice and style. Enjoy the path to discovery, don’t fear the growth, and don’t try to be someone you’re not.

Bonus Fun:
Here's something zany and unique. The kids are telling the story while the adults act it out. Hilarious--enjoy!

Saturday Link Special #5, Plus!

I think it was a slow blogging week all around. Not as many links to share this week but here's what I've got for you:

Agent Janet Reid passes on this bit of advice from Ira Glass for new writers. Agent Mary Kole wrote about Time Period Settings and the appropriate use of. Highly recommended post. Author C.C. Hunter shares 5 Pieces of Well-Meaning Writing Advice That I'm Glad I Didn't Take. 'Nuff said.

For those on the prowl for agents or who are compiling their agent research:

Literary Rambles spotlights agent Jennifer Jackson from the Donald Maass Literary Agency. She represents and is looking for: Commercial Fiction, Sci-Fi, Fantasy, Mystery, Crime, Thrillers / Suspense, Historical Fiction, Women’s Fiction, Romance, Multicultural, and Young Adult.

Guide to Literary Agents has posted a spotlight on new agent, Kathleen Rushall of Waterside Productions. She's looking for: YA and MG fiction across the board (historical fiction, science fiction, mystery, humor, fantasy, romance, thriller, and horror), picture books, and adult nonfiction (business, parenting, how-to, women's interest, humor, health, crafts).

GLA also has an interview with agent Sandy Lu of the L. Perkins Agency. She represents and is looking for: In fiction, she is looking for dark literary and commercial fiction, mystery, thriller, psychological horror, paranormal/urban fantasy, historical fiction, and YA. In particular, she is looking for historical thrillers or mysteries set in Victorian times, and she has recently fallen in love with steampunk. Her nonfiction areas of interest include narrative nonfiction, history, biography, memoir, science, psychology, pop culture, and food writing. She also has a particular interest in Asian or Asian-American writing, both original and in translation, in both fiction and nonfiction. She does not represent: romance, high fantasy, children’s picture books, how-to/self-help, parenting, religion/spirituality, and sports.

And agent Weronika Janczuk of D4E0 Literary has put out a call for manuscripts! You can find out what she's looking for here.

On a more personal note, my friend Cherie from Ready. Write. Go.was passing around blogging awards and gave Yesternight's Voyage a mention. Thank you, Cherie!

The rules that go along with the award are as follows:

1. Thank and link to the person who nominated me.
2. Share seven random facts about myself.
3. Pass the award along to 5 new-found blogging buddies.
4. Contact those buddies to congratulate them.

So...to fulfill #2...

Random fact #1:

I'm not really from anywhere. My family moved constantly while I was growing up. And no, my dad wasn't in the military. Even as an adult, I've continued to move around and haven't put down roots anyplace special yet.

Random fact #2:

I get mushroom cravings. And not of the magic kind.

Random fact #3:

I can paper the walls of my office with the maps I've drawn for one made-up world. Mapmaking relaxes me and helps me work on writing without actually playing with words--unless I'm naming places.

Random fact #4:

I went to travel school and had a career as a tour wholesaler. Basically, I put together travel packages for travel agents to sell. The people in my office did all the deal searching, communication with suppliers, and made the actual bookings. Lots of research, hee hee.

Random fact #5:

I'm an old movie nut. Grew up on the likes of Cary Grant, Danny Kaye, Fred Astaire, Deanna Durbin, Audrey Hepburn, and many more. Many conversations in my family were half-comprised of bantering movie quotes.

Random fact #6:

I play two instruments and dabble in music composition. Love listening to music too.

Random fact #7:

The smell of coffee makes me nauseous and for several years I didn't like chocolate. How's that for bucking stereotypes? Oh, and I also don't have a dog or a cat.

*wipes hands* Well, that's done. Now to pass on the award/mention:

1) Possibilities for Publication

2) Inkwash: Fantasy of Pen and Brush

3) Oh, The Things I've Learned--Angie Sandro

4) In the Jungle

5) A Literary Pursuit

Have a great weekend everyone.

The Savvy Writer: Organized and Educated

The query process is daunting. Research, writing the query letter, finding agents, more research, rewriting that query letter a few more times, getting feedback from others on the query letter, etc. When it comes to the research and finding agents part, I think I might have some valuable input. (For good input on the actual query letter, you might want to start here or here.)

Where to begin? Finding literary agents is kind of like a game of hide-and-seek. There is no one all-encompassing reference, especially as agents come and go, switch agencies, or start up their own. There are many literary agent lists found in publications and online. Putting all that information down and keeping tabs on everything is a chore in itself.

You may already have a system for storing and maintaining a list of possible literary agents to query. How do you do it? Or you might rely solely on some writer websites to do the work for you.

I like to use an Excel spreadsheet. It's offline, can easily be added to, and has all the information I've gathered on one page. Whether you use a program like Excel or even just a simple notebook, it's important to keep organized and gather up as much information as you can in order to pinpoint the agents most likely to represent your type of fiction or nonfiction and to personalize those query letters.

What kind of information should you look for and record?
1) Full name of the agent and the agency she works for. Double check for things like spelling and gender.
2) The agency's address and website.
3) The agent's submission e-mail, website, or blog url. (Once you have this info use it. Follow their blog, check in regularly on their website when getting ready to query, keep tabs on submission guidelines.)
4) What the agent represents or is looking for.
5) Is this particular agent open to new submissions? Are they interested in previously published writers only or will they take on the unpublished? Sometimes agents become closed to submissions for a period of time. It's something to check into before you send out that next batch of queries.
6) How do they prefer they to get query letters? E-mail? Snail mail only? Any particular words needed in the subject line? What do they want included in the query letter? Do they want sample pages? A synopsis? Attachments or no attachments for an e-mail?
7) Tracking record of the agent. This can be membership in AAR, listings in notable databases like AgentQuery or QueryTracker, Publisher's Marketplace to see what the agent has recently sold, online interviews, etc. Can this agent be easily found? What sort of feedback and reputation does this agent have? How old or new is this agent as far as experience is concerned?
8) Who does this agent represent? Part of the query research is knowing where your novel might be shelved in bookstores. Who else writes your type of fiction or nonfiction? Who represents those authors? I always check the acknowledgement section of a book to see if the author has listed their literary agent. That little piece of information can tell you more than a dozen blog interviews.

I do recommend gathering this kind of information right away, even if you're not ready to actively query yet. In fact, if your not ready, this is the perfect time to do the research. If you're chomping at the bit to send out those query letters, scrambling to get all of the information listed above will seem even more daunting. It does take time. Is it worth it? Yes.

When we send out those query letters, we don't want to simply snag any old agent. We want an agent who loves the type of stories (or subject matter for nonfiction) that we write. We want an agent that we can work well with as a business partner. Sending out queries blindly handicaps writers. When an offer of representation is made, are you prepared to make an educated decision?

On the flip side, agents like writers who do their homework. Writers who follow submission guidelines and personalize their query letters to the agent show professionalism. Writers who know what a particular agent represents and likes are more likely to query the right agents for their work, saving time and frustration for both sides.

On Thursday I'll share a great blog dedicated to rounding up information on literary agents so be sure to check in then.

If anyone has other great tips for organizing agent research, please share it. There are some online writer services that allow writers to gather and list agents. I've yet to find any that compile everything on the list above, though. The fewer places one has to look for gathered info, the less hassle, in my opinion.

Saturday Link Special #4

Hello and thank you to those who pop in to check on the blog. Sorry I forgo providing a bunch of useful links last week. I was out for medical reasons and am recuperating fine. I took some time to dive further into the world of Twitter to see what I could see, and learn what it was all about. I may share my conclusions at a later date. Had fun coming up with a new writing project to work on that channels my inner villain which ate up some of the long recuperation hours as well. But for now, here are this week's batch of goodies:

To kick things off, The Chronicle of Higher Education has a good leveler of a post on The 5 Myths About the "Information" Age. There's some good perspective in this one no matter what side of the debate you support or want to believe.

The Intern socks it to our inhibitions and inadequacies regarding our own writing compared to other people. All I can say, is thank you, Intern.

Jan O'Hara shares some insight into query letters through the process of selecting a good high school. Some good, solid advice to be read.

In the middle of Synopsis Hell? Agent Jim McCarthy dives right in and lays out what needs to go into one and what you can leave out. The leaving out part had me silently exhaling in relief.

In regards to writing craft:
Cherie Tucker tackles pronoun usage over at Author Magazine. Toni McGee Causey discusses The Art and Soul of POV at Murder She Writes. Fellow AQCer Cherie posts a good case for rule breaking On Dialogue and Comma Splices at Ready. Write. Go. And the Intern shows the Top Ten Reasons You Should Rewrite That Scene.

And if you write dystopian, steampunk, fantasy, dark fantasy, paranormal, or cozy mysteries you might want to pop over to look at GLA's agent advice post from Vickie Motter of Andrea Hurst & Associates Literary Management, to see if she might be a good fit for your query list.

Outlining: The Simple Version

There are typically two types of writers: outliners and pantsers. I'm both, though I tend to favor the former over the latter, more so the older I get.

An outline is a tool, a very valuable tool, especially if you want to finish a story or revise one. You pull back from your intimate perspective of the story and contemplate the big picture. Today, I'd like to share a very easy and basic outline (there are several different ways to outline so this is by no means the only way to go.) It came in handy for me for National Novel Writing Month a couple of years ago, and is easy enough, yet vague enough, for a pantser to use. You may have heard of it before or some variation of it. I compiled suggestions from three other writers to come up with this. Bear in mind, this primarily works for genre fiction.

1) Write down in one or two sentences what the main plot or storyline is. Whether it's a thread of romance, a mystery, a goal, a natural disaster, an internal or external conflict. What is the main story of the book?
2) Write down in a sentence or two what the subplot(s) is/are.
3) Follow the outline guidelines for each plot thread. Put a star by parts where one or more of these threads join or boomerang off each other. (Hint: these are your nodes of conjunction, powerful places in the story that give readers an “A-ha!” moment.)

Title the outline: Main Plot, Subplot A, Subplot B, etc.
Part I or Act I:
1) Write down the inciting event of that plotline briefly. What gets this plotline moving?
     a) What's the problem?
     b) How is the protagonist embarking on change?
2) Write down the protagonist's first attempt to fix the problem or achieve his goal.
     a) Failure & consequences.
     b) What new insights does the protagonist gain?
     c) What is his new plan to tackle the problem or goal?
     d) Create a doorway of no return to the way he was at the beginning.
Part II or Act II:
1) Write down the protagonist's second attempt to fix the problem or achieve his goal.
     a) Failure & consequences.
     b) What new insights does the protagonist gain?
2) The Worst Happens.
     a) Reaction & inner development.
     b) What is his new plan to tackle the problem or goal?
     c) Create another doorway of no return with ultimate stakes involved.
Part III or Act III:
1) Climax--third attempt to fix the problem or achieve the protagonist's goal.
2) Resolution--the change in the protagonist is completed and promises are fulfilled. They've either reached their goal and solved the problem or found a way to deal with not having done so.

What I think this outline does best is give some direction to the story, helps keep a focus on the key beats of the story, and yet leaves plenty wide open for new developments, surprises, and all the other little things that may creep in that make the story unique and fresh. Taking an hour or so to write out this simple outline adds focus to the writing process. One thing to always keep in mind with an outline: it's not set in stone. If you reach a point and find something doesn't work, rip it out, or put something new in. An outline is a basic set of directions aimed at getting you, the writer, to the end of the story without missing any of the key happenings or developments. Outlines help stories reach conclusions and not get filed away in the Started But Didn't Finish File.

Also of note, you may add extra sections if the story is more complex. If there is more than one doorway of no return, or more than one major development in any Part/Act of the story. Specific genres do have certain formulas or beats to follow, and readers expect these. How you write the story, the voice, and the unpredictability of plot twists are some of the ways you can stand out from predictable formulaic fiction.

I have plenty more types of outlines to share in the future. This one is the simplest and in some ways the most straight-to-the-heart of them all.