A writer's voice is not character alone, it is not style alone; it is far more. A writer's voice line the stroke of an artist's brush- is the thumbprint of her whole person- her idea, wit, humor, passions, rhythms.
I've long come to the conclusion that when people say they can't put a book down, they don't mean they're interested in what's happening next; they mean they are so mesmerised by the writer's voice and the relationship that has been established that they don't want to break that. That's what I feel when I read, and I'm sure now that that's what's going on in the relationship between the reader and the writing.
I don't know what makes a writer's voice. It's dozens of things. There are people who write who don't have it. They're tone-deaf, even though they're very fluent. It's an ability, like anything else, being a doctor or a veterinarian, or a musician.
I just have to be able to follow and enjoy the writer's voice and the writer's point of view. Liking what the person has to say is not really important to me.
Aunt Lovey used to tell me that if I wanted to be a writer, I needed a writer's voice. 'Read,' she'd say, 'and if you have a writer's voice, one day it will shout out, 'I can do that too!
An excess of development can undermine the most ephemeral but distinctive tool a writer possesses: authorial voice. A writer's voice is as individual and marked as a thumbprint, and is a playwright's truest imprimatur. It is as innate as breathing, and can be as unique as any genetic code. By its very singular nature, it is seldom born in the act of collaboration. True authorial voice always pre-dates the first rehearsal of a text. And it is - and will always be - an author's most distinguishing and valuable feature.
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