  Drama
This week: Part One ~ Voice and In The Night Circus Edited by: NickiD89  
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| Like many of you, I've considered myself a writer my whole life. But in 2007, I shifted out of hobbyist mode, started writing for an audience, and embarked on the exciting journey towards publication. As I continue on that path and delve ever deeper into the craft, I feed an insatiable appetite for creative writing theory. I seek out how-to books and workshop experiences to augment and amplify whatever talent I possess. For those of you like me, here's a little theory to appease your hunger. |
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This is Part One of a two-part series exploring voice and tone in literature.
Voice is one of those elusive literary terms about as easy to describe as a specific color. (Well, purple is, you know, sort of blue. But, like, it's red too...) I prefer to liken voice to the sound of a musical instrument, which I find easier to envision. Imagine, for example, "Happy Birthday" played on a tuba, and then on a saxophone. Though the melody doesn't change, the two instruments will produce unique sounding versions of the song. And when the instruments are in the hands of two different musicians, the resulting renditions will be further stylized and unique.
An author's voice is his or her instrument. It's that quality which makes his or her writing distinctive to the reader's ear. Every writer has a voice as unique as a fingerprint, though for many writers, discovering and developing their voice represents a large part of their journey into the craft of writing.
If you are like me, you'll admit the above 152-word definition for voice doesn't really make clear what voice is. All I can say is that when I come across a novel with distinct voice, I immediately recognize it. That was the case with Erin Morgenstern's The Night Circus. I will use her book to delve deeper into the topic and explore some of the elements of her strong voice.
First and foremost, voice has to do with style. It's the author's sensibilities with regard to rhythm, that cadence that ebbs and flows in her writing. Her vocabulary choices and lexicon lend palpable and distinct flavor that readers recognize.
See how Morgenstern's style is apparent in the following two excerpts from The Night Circus.
From page 25:
Celia grows up in a series of theaters. Most often in New York, but there are long stretches in other cities. Boston. Chicago. San Francisco. Occasional excursions to Milan or Paris or London. They blend together in a haze of must and velvet and sawdust to the point where she sometimes does not recall what country she is in, not that it matters.
From page 107:
Bailey spends the entire day willing the sun to set, but it defies him and keeps its usual pace across the sky, a pace that Bailey had never really thought about before but today finds excruciatingly slow. He almost wishes it were a school day so he would have something to help pass the hours. He wonders if he should take a nap, but he is far too excited about the sudden appearance of the circus to possibly sleep.
Morgenstern's style is unique. She rarely uses contractions, resulting in a more sophisticated sound that, considering the fantastical elements in The Night Circus, reminds me of the oxymoronic fashion label "Bohemian Chic." Same vibe. Also, she tends to string adjectives together in groups of three, connected often by the word 'and' or 'or' in place of commas. The effect heightens Morgenstern's descriptions while lulling the reader deeper under her spell.
Along with engaging style, a strong voice transports the readers from their reality and into the story world. And it's more than a jaunt into the story's setting. An author uses her voice to take the reader on a journey, immersing them in the world's frames of reference, into the states of minds of the characters that live there.
Here are two excerpts from The Night Circus which exemplify how Morgenstern transports us into her story world using her voice as her vehicle.
From page 272:
The circus is always particularly festive on All Hallow's Eve. Round paper lanterns hang in the courtyard, the shadows dancing over their white surfaces like silently howling faces. Leather masks in white and black and silver with ribbon ties are set in baskets by the gates and around the circus for patrons to wear, should they wish. It is sometimes difficult to discern performer from patron.
It is an altogether different experience to wander through the circus anonymously. To blend in with the environment, becoming a part of the ambiance. Many patrons enjoy the experience immensely, while others find it disconcerting and prefer to wear their own faces.
And from page 304:
"The last hours have been long for all of us," Tsukiko says after Isobel has departed. "You need tea," she adds before Celia can explain why she is there. Tsukiko sits her down on a cushion and walks silently to the end of the [train] car, fetching her tea supplies from behind one of the tall screens.
It is not the full tea ceremony that she has performed on several occasions over the years, but as Tsukiko slowly prepares two bowls of green matcha, it is beautiful and calming nonetheless.
"Why did you never tell me?" Celia asks when Tsukiko has settled herself across from her.
"Tell you what?" Tsukiko asks, smiling over her tea.
Celia sighs. She wonders if Lainie Burgess felt a similar frustration over two different cups of tea in Constantinople. She has half a mind to break Tsukiko's tea bowl, just to see what she would do.
Morgenstern's lush descriptions take you right to the heart of the scene. Her use of sight, smell and sound modifiers bring moments of the story to life.
And one of the reasons why I chose The Night Circus as a study on voice is exemplified in this second excerpt. Morgenstern wrote The Night Circus from the third person omniscient point of view. She is careful not to head-hop, but the narration feels distant. The characters' thoughts and feelings, including the POVs, must be discerned through their actions and dialogue. It is Morgenstern's voice that draws you closer to the characters, so that you feel an intimate understanding of each, despite not being allowed direct access into the recesses of their thoughts and feelings.
Finally, a strong authorial voice is recognizable across the writer's body of work. I read Morgenstern's blog, and whether she posts her thoughts or her micro-fiction or her short stories, her voice is crystal clear. The lack of contractions, the strings of modifiers, the sensual descriptions, all are evident in whatever she writes. It is her authorial personality. It is her voice. Nothing else sounds like Erin Morgenstern. (See what I mean by following this link to Erin Morgenstern's Blog )
Question For Next Time: In addition to style, the ability to transport readers, and consistency, what other elements contribute to a strong authorial voice? What authors do you feel have a strong voice?
Thanks for reading!
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Question for next time: In addition to style, the ability to transport readers, and consistency, what other elements contribute to a strong authorial voice? What authors do you feel have a strong voice?
Last month's question was: Tell me what you're reading. Have you discovered a book recently that ignited new explorations for the writer in you? Here's what readers had to say:
BIG BAD WOLF is hopping  -- I've been reading the Dragon Knight series by Gordon R Dickson. It's about an Assistant Math Teacher from the late 20th century who was sent to an alternative Medieval world full of Magicians, dragons, talking wolves, gallant knights, and the Dark Powers who wish to destroy our hero. (Submitted item: "Brother Mine"
Me: Sounds entertaining and exciting! And there's nothing like a good series, keeps the joy going through several books.
Danger Mouse  -- Great newsletter, nicki.
I've been thinking/studying along the same path of late.
Here's where I'm at on the subject.
The tone in story telling shows how an author feels about a stories characters and settings.
If they think a charachter morbidly elegant or freshly beautiful sets the mood for a reader.
How the writer executes tone is voice.
I have been reading classic horror tales of late. Studying how Brahm Stoker, Richard Matheson and Stephen King set the tone in their stories.
The devices they use for tone are much the same. It's easy to tell which characters they each like, love, despise, or fear. It's the writer's voice that makes each story separately extraordinary.
Nothing is ever flat in their stories. Everything is a character affecting the readers mood. Draculas Castle, Sara Laughs, and Hell House are alive, as I suspect is the night circus as well.
I think I shall have to give Erin Morgenstern's work a read.
Me: I like this: How the writer executes tone is voice. Great, concise definition! Thanks for weighing in on the topic. I've read Brahm Stoker and Stephen King, but I need to pick up a copy of Richard Matheson's work. Thanks for the reminder!
[Newest feedback from my 2012 Newsletter Quill Award winner Remove What Dampens Your Drama ]
Quick-Quill  -- Wow this "editing" newsletter came at the perfect time as I am doing draft 2 of my novel. I am going to print it out and keep ti next to my keyboard. What a help this is. Thanks for writing it!
Me: So glad it helped! Best of luck with your edits and seeing your project through to the end!
See you all back here on April 18, 2012. Until then, have a great month!
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Drama: March 21, 2012 Issue [#4949]
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