Don't ignore the voices in your head,
write them down and let them speak...
The
word voice is one of nuanced meaning.
The term covers a broad range from the literal to the figurative, and it's
often about more than what is uttered.
The
voice is so much more than the ability to make meaningful sounds. It's a
complex process and it's a complex concept. It begins as the inner voice, as
thought coded into language, which may
then be given external expression.
At
its most literal voice describes the
facility to make purposeful and meaningful sound in order to communicate. It's
fast, economical and dynamic and it requires the active engagement of the
listener in order to be interpreted, understood and responded to. The human
voice is a way of giving thought and language verbal expression, but it doesn't
have to involve making sound.
Soundless
use of voice is possible. The use of sign language by the deaf is testament to
that. Watch, or take part in, a soundless, signed conversation and you'll see
that 'voice' is still very much present. This fact helps to underline that
voice is more than noise-making. Indeed even the spoken word is rarely used on
its own and is often enhanced by the silent voices of sign and gesture. And,
for both speakers and signers, there's the whole other voice of body language.
Just
think of the difference between a voiced phone conversation and one that takes
place face-to-face and you'll see how layered the human conversational voice
is. And that's just the start.
From
earliest history, humans have given voice to their inner thoughts and not
simply by speaking. From cave paintings to modern art; from body painting for
war and ceremonial purposes to the twenty-first century craze for multi-purpose
tattooing; from the earliest signals of drum-beat, ram's horn and pipe, and to
the symphony orchestra and pop, rock and rap; from tribal chant to opera and
hip-hop; from classical and experimental theatre to blockbuster movie; And from
stone tablets and camp-fire storytelling to e-books, the inner voice has many
routes to outer expression.
But
this is a magazine for writers. So whilst acknowledging all of the above let's
turn now to words, to words written down and given voice by the writer, to
words that are crafted to stick.
The
narrative voice of the writer, when used well, can and should be as powerful
and versatile as the musical or speaking voice. It will have its own tone,
timbre, rhythm and range. In non-fiction, it will proclaim the purpose and
content with clarity. In fiction, the voice will convey plot by building content,
tension and resolution; setting by building atmosphere, mood and environment;
and character by building personality, age and gender. Whatever the genre the
voice should strive to be eloquent, erudite and entertaining.
And,
as in music and the spoken word, the narrative voice will also use pause and
silence. This allows the reader to reflect and thereby will convey much that is
powerful and significant.
The
process of creating and employing the narrative voice is mysterious and
magical. It's a sort of inexplicable alchemy. Anyone who has undergone any kind
of talking therapy will know that you often don't know what you think about
something until you say it out loud. A thought may be subconscious, but voicing
it brings it to the conscious mind. We all make sense of our lives by voicing
our personal stories.
And
the same can be true of voicing a written narrative. A character's actions or a
plot development can sometimes surprise even the author. An unvoiced thought or
idea can appear voiced and out there on paper, almost without the conscious
engagement of the writer––now that's awesome.
What
is also awesome about narrative voice is its potential effects on its readers. Of
course, not everything that's written has life-enhancing and life-changing
significance, but even relatively lightweight literature can enhance a life by
simply entertaining the reader. The possibilities for a strong narrative voice
to inspire, motivate and educate are endless. Just ask any political dictator
who uses censorship as a means of control if you're not convinced of the power
of the unfettered voice.
Words
are affective and effective. Words stick. Writers use their narrative voices to
give action to those words. And actions speak even louder. So get using those
voices. You never know what they may achieve.
Anne Stormont is an author-publisher.
She can be a subversive old bat but maintains a kind heart. As well as writing
for this fine organ, she writes fiction for adults – mainly of the female-of-a-certain-age persuasion – and
for children. She blogs at http://putitinwriting.me – where you can find out lots more about
her.
No comments:
Post a Comment