Refining Our Voices to Make Better Literary Choices

When I finally found the writing style that gave me originality, my voice became the experience readers need. In my opinion, voice is the most important quality of a manuscript. The author’s interpretation matters most because identifying with a cultural aspect or national origin adds depth to literature. Samuel Clemens created characters from the Deep South, and Huckleberry Finn would hardly be as dynamic with a Northern accent. I use a slight twang in my writing as an influence, even though some readers unfamiliar with the Southern drawl might miss the linguistic nuances altogether. I have shaped the voice to match the speech patterns of every type of reader interaction.

My best understanding of the English language is its diversity across dialects of many origins. I love how a Midwesterner’s upbringing may lead to more direct phrasing like “What are you doing?” while the Southern vernacular might sound like “Whatcha doing?” or even “What’re y’all doing?” Learning to write expressively through language is an art form in its own right. If not done correctly, authenticity feels lacking, and readers will not feel connected to the story. I have read stories by writers from South Africa, India, and Russia, as well as works from other cultural traditions, to discover great literature.

I claim no command of every language, but I am merely suggesting that relatable characterization invites readers into stories that serve as educational resources. A writer might use a specific setting, clothing, or hairstyle to create an environment for a character. Voice provides a distinct influence: a mobster, an oceanic fisherman from the Eastern Seaboard, or even a surfer from the West Coast. Dialect comes in handy when developing a character and a narrative arc that involves a regional influence or a fish-out-of-water scenario.

When I created Calhoun Mane, my voice blended southern and northern dialects. To have lived in both settings drew on the specific language a Cajun might use, or possibly that of an English teacher in Ohio. I have learned that dialogue drives the narrative. A conversation between two completely different dialects allows the reader to distinguish naturally how the language affects their comprehension. I love that aspect of a great read, when the author takes me away from a mundane life to live as a spy, a cowboy, or whoever entices my interests.

As an unconventional writer who approaches language in a non-linear way, I naturally capture emotional responses. I do not force a narrative or dialogue on a reader or on myself as a creator.

I continually pay attention to people’s speech patterns. When one stands out as unique, I make a mental note. Fortunately for me, I develop most of my projects in my head before writing them out with full edits.

Refining our voice to find originality takes commitment over time, and writing what readers expect will give them the out-of-body experiences they desire.

I read so I may gain worldly knowledge that carries me to faraway places. Join me in reading Raising Mother Nature, our narrative nonfiction title.