What is Voice?

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A strong voice allows writers to convey their artistic vision, playing with language, experimenting with style, and creating a work that is truly unique. It’s like a fingerprint, making the author’s work engaging and recognizable.

Consider the flowing, complex opening lines of Toni Morrison’s Beloved, in which the third-person narrator’s voice describes a family’s house as “spiteful” and “full of a baby’s venom,” chasing its inhabitants away:

“For years [they] put up with the spite in [their] own way, but by 1873 Sethe and her daughter Denver were its only victims. The grandmother, Baby Suggs, was dead, and the sons, Howard and Buglar, had run away by the time they were thirteen years old—as soon as merely looking in a mirror shattered it (that was the signal for Buglar); as soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door-sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed. No. Each one fled at once—the moment the house committed what was for him the one insult not to be borne or witnessed a second time.”

In contrast, take a look at how Ernest Hemingway begins “Hills Like White Elephants,” using a straightforward, terse voice (with minimal punctuation) to set the scene for a short story that consists mostly of dialogue after the first paragraph:

“The hills across the valley of the Ebro were long and white. On this side there was no shade and no trees and the station was between two lines of rails in the sun. Close against the side of the station there was the warm shadow of the building and a curtain, made of strings of bamboo beads, hung across the open door into the bar, to keep out flies. The American and the girl with him sat at a table in the shade, outside the building.”

A strong and compelling authorial voice captivates readers, drawing them into the narrative, providing consistency throughout a manuscript whether an author is writing fiction or nonfiction. Author voice is at the heart of how we write; it allows for expression and creativity, going beyond the mere transmission of information and adding a layer of emotion, tone, and style that can enrich the experience of both writer and reader.

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Amy Cecil Holm is Allegory Editing’s resident Copy Editor and Proofreader. As a copy editor and proofreader, Amy draws upon more than three decades of teaching college English to help authors polish their prose. She holds a bachelor’s degree in journalism and a master’s degree in creative writing and has worked as a journalist, technical writer, and educator. Amy has taught courses in English composition, literature, creative writing, journalistic writing, business writing, and developmental reading, among others. She has a keen understanding of grammar, punctuation, and diction and uses her careful attention to detail to help prepare manuscripts for submission and publication.

The Rhythm of Language—Finding Your Author Voice

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From utilizing sentence length to set the pace of a section, to playing with punctuation to allow readers a welcome breather, to intentional repetition of words for emphasis and impact, rhythm is one of the most dynamic tools writers have at their disposal. Attention to rhythm in writing is also one of the best techniques a writer can apply to cultivate the ever-important, often-illusive author voice.

Read on to learn some helpful tips for maximizing this vital literary element.

Tip: Vary the length and complexity of sentences.

Meaty sentences for readers to really savor can be delicious. But fill an entire novel with them and readers may feel like they are choking. Short, simple sentences can serve as much needed palate cleansers to keep a reader engaged and wanting more.

Tip: Play around with sentence structure.

Playing around with sentence structure is a great way to utilize rhythm in your writing. Here are some ideas:

• Find sentences that start with the subject and try rewriting them to put the verb first, and vice versa.

• Experiment with (intentional and judicious!) use of sentence fragments.

• Swap clauses to see what reads best. For example:

Sheila preferred to go without a coat in the rain.

The above sentence provides a notable bit of character information about Sheila. But take a look at what happens with a simple rearrangement of clauses:

In the rain, Sheila preferred to go without a coat.

Restructured in this way, the sentence not only gives us information about Sheila’s character, but it also serves to better evoke her for the reader. A natural pause is created after in the rain, which allows a picture of rain to drop into the reader’s mind. It also reads as more declarative, so we get the sense that this is a bold and confident choice on Sheila’s part. Both are valid ways to write the sentence, depending on what you want to accomplish in that moment.

Tip: Get creative with punctuation (but know the rules first).

Commas and periods and dashes, oh my! Consider mining punctuation to enhance the rhythm of your writing. For example:

• For asides, a comma provides a softer, subtler touch. To make an aside really stand out, try an em-dash instead. If we want the reader to stop and consider something, parentheses are our best bet.

• Writers may think the semicolon has no place in creative writing. But used wisely, it can be highly effective in literature. For example, using it to connect two seemingly unrelated ideas can draw a line for the reader without the need to be explicit. Used this way, it can also be mined for humor. (Chimamanda Ngozi Adichie is absolutely brilliant in her execution of the unexpected semicolon. I highly recommend you pick up her novel Americanah for a masterclass in the use of this punctuation.)

• Three periods with spaces between (not to be confused with ellipses) create the illusion of a pause and can also illicit the impression of stuttering or faltering speech.

• While run-on sentences are generally a no-no, they do occasionally have a place. Take for example a character who experiences a manic episode. Writing their dialogue with a jumble of ideas all running together with little to no punctuation can very clearly illustrate the pressured speech common in mania. The caution here is not to overdo it; break up such dialogue with prose so as not to wear the reader out.

Tip: Try reading the work out loud.

Hearing our words read aloud, by us or another person, can be a great way to get a feel for the rhythm of the piece. Whether this method is useful for each of us may depend on how we process language.

I personally love hearing my plays read aloud. The way the dialogue sounds from the actors in a rehearsal room can spark ideas I never would have had on my own. On the other hand, I never read my fiction out loud. When I read silently to myself, I can hear the words very clearly in my own mind, complete with accents, varied speed, and emphasis.

Despite my training and many years of experience as an actor, my fiction rarely sounds as spot on when I read it out loud as it does in my head. I find it far more effective to read it to myself as though it’s being said out loud. The process and feeling when I read to assess the language are distinct from when I read for other purposes, such as to take in information or to enjoy a story. I must be intentional in order to read for assessment, and I must take my time in order to access this process in my brain.

This may not work for everyone’s brain. Many writers find reading their fiction out loud invaluable. Some prefer to ask another person to read it aloud to them (aside from stage plays, I do not find this helpful). Others like to utilize the text-to-speech feature in Word. Figure out what works best through thoughtful experimentation.

Tip: Synonyms are your friend.

Not only is precise word choice important for conveying ideas, it also plays an important role in the rhythm of a sentence. For example:

• Walked evokes a smooth pace, while the word skittered brings to mind a quicker, more staccato movement.

• For a lighter, breezier feel, we might replace traveled with gallivanted. As the reader hops through the additional syllables, they get the sense of the character bounding from place to place.

Tip: Read. Read. Read.

Take note of particularly effective passages. What worked? Similarly, pay attention if something doesn’t feel satisfying about the author’s use of language. Play around with what could be done differently. Maybe there are one too many syllables, or perhaps a little rearranging would do the trick.

Final thoughts

Use the above tips to improve the rhythm in your writing and help discover and refine your author voice. Above all, have fun. Language is a living, breathing thing. Experiment, play, be joyful and curious. Allow me to extend the rhythm metaphor a tad further: language is a writer’s instrument. So tune up, practice with intention, and go make some music.

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Andrea, a white woman with brown, curly hair, stands in front of a tree. She wears a blue dress and is smiling at the camera.

Andrea Karin Nelson is the Founder & Executive Editor at Allegory Editing. In addition to her developmental editing work with published novelists, playwrights, and essayists, Andrea brings a unique set of experiences and skills to her editing craft. Twenty years as a writer and theater maker has developed her keen sense of story structure, plot and character development. Her plays have been commissioned and produced across the United States and performed in both English and American Sign Language. Fifteen years as a Master-Level, Certified Sign Language Interpreter has finely tuned her ear to the subtleties of language and the nuances of human interactions. And with over two decades as an educator, her teacher's heart allows Andrea to personally tailor her work with each writer. Click here to read an interview about Andrea’s journey founding Allegory. You can contact her at andrea@allegoryediting.com.