R AT I N G E B 2 L 2 E C Y E A R S IInnSSiinnCC The Sisters in Crime Newsletter Volume XXI • Number 4 December 2008 and says it in a powerful voice that compels us to keep reading. “Good plotting and fast action can cover a How to Find and Develop multitude of sins,” Margaret says. “But a book that lacks an individual voice doesn't entice me to pick it up again once I've put it down the first time.” Your Unique Wsonralityt,” NeaormiʼHsirahaVra suoggeistcs. “Be y the By John Morgan Wilson As with style, I don’t think you can force a Not long ago, when UCLA Extension asked narrator, I don't mean the writer or even your particular voice on your work. If you write me to teach a weekly class called “Developing lead protagonist (even if you are writing in first enough, it will eventually reveal itself to you. Voice and Craft: The Keys to Successful Fic - person). Voice is your fictional prose persona, It’s like a muscle: The more you write, the tion Writing,” I immediately said yes. I’ve al - and it may differ with each non-series book stronger it gets. The less you write, the weaker ways felt that “voice” plays a crucial role in ef - you write.” it is. fective writing and To Denise Hamilton, voice is comprised of Naomi agrees: “The only way to develop I’ve heard countless “the personality quirks that shine through the your voice is to write. And write and write. writers and editors writing. It’s a fresh, original worldview. A voice Through this process, hopefully a compelling say the same. to me is also the tone and mood you set, what fictional narrator will emerge. We all know sto - Only later, as I you choose to zero in on and what you leave rytellers who can make even the most mun - put together my out. dane tales interesting. We need to identify that ten-week program, “Unless you write a series,” she adds, “you storyteller within our self. did I realize how will have to develop different voices. Some “Most importantly, don't try to imitate difficult it would be spring full-blown to me, others I have to tinker someone else's voice or disparage your own to identify and de - with and rewrite a lot. I try to see the world style because you feel that it is sub par. Devel - fine, let alone teach. through [the narrators’] eyes, channel how oping our voice is like raising children – we “You know it they would speak.” need to accept natural predilections.” when you see it,” says Margaret Maron, via e- “I personally have been impacted by Chester Denise suggests experimentation: “I would mail, “but to describe and explain it is like try - Himes and Walter Mosley, two men who are do exercises, writing from different points of ing to pick up quicksilver. Voice is what differ - masters of voice,” Naomi says. “Their prose view. A snarky teenager, a cop, a kid, a gar - entiates in the very first paragraph a Marcia style, their physical descriptions, dialogue, and dener.” Muller from a Sue Grafton, a Donald Westlake metaphors are informed by the type of stories Ultimately, it will be your voice — the dis - from a Craig McDonald.” they want to tell.” tinctive way your express yourself on the page Whether you write in first or third person, In my classes, I often cite a passage from — that will set your work apart from the rest. the narration still needs an intangible quality Mosley’s Black Betty , the fourth in his Easy “I recently read a manuscript by a beginning — voice — that is confident and convincing. Rawlins series, as an example of an authorita - author,” Margaret says. “It will never be pub - Just as each of us has a unique way of speaking tive and compelling voice: lished. The plot is a mess, the motivation is and conversing aloud — developed from You could tell by some people’s houses that they flawed, he has a less than firm grasp of punctu - childhood – as writers we all have a way of came to L.A. to live out their dreams. Home is ation. But that voice! If he can get the other “talking” to our readers, reflecting who we are not a place to dream. At home you had to do like parts working, he will definitely find a publish - and how we feel. Finding and strengthening your father did and your mother. Home meant er and a readership.” that voice will be easier for some, more chal - that everybody already knew what you could do lenging for others. and if you did the slightest little thing different “How does one discover and develop his or they’d laugh you right down into a hole. You her writing voice?” Margaret asks. “I believe lived in that hole. Festered in it. After a while John Morgan Wilson won an Edgar for his this is the hardest — if not impossible — thing you either accepted your hole or you got out of it. first novel, Simple Justice , recently reissued by to teach. You can teach plotting, you can teach There were all kinds of ways out. You could get Bold Strokes Books along with three other early characterization, you can teach pacing, but married, get drunk, get next to somebody’s wife. Benjamin Justice mysteries. Spider Season , the voice is too individual a quality. It arises out of You could take a shotgun and eat it for a mid - eighth novel in the series, has just been published the writer's unique personality.” night snack. by St. Martin’s Minotaur. For details, visit Put another way, writer and narrator are in - Or you could move to California. www:johnmorganwilson.com. separable, fused through voice. To me, that’s a narrator — and a writer — This article supports SinC’s Professional Edu - “Voice is a reflection of the narrator's per - who knows who he is and what he wants to say, cation goal. Get aClue Sisters in Crime Newsletter The mission of Sisters in Crime is to promote the pro - fessional development and advancement of women Finding Your Writer’s Voice ............... 1 crime writers to achieve equality in the industry. President’s Message ..................... .......3 Judy Clemens , President Jim Huang , Bookstore Liaison Marcia Talley ,Vice President/President Elect Mary Boone , Library Liaison Renew Your Memebership .................. 3 Mar y Saums , Secretary Charlaine Harris, At Large Kathryn Wall, Treasurer/Authors Coalition Liaison Nancy Martin , At Large Robin Burcell ,Chapter Liaison Nadia Gordon (Julianne Balmain) , Monitoring Sisters Helping Sisters .................... ....3 Cathy Pickens, Publicity Project Roberta Isleib, Past President Bookstore Database ................... .........3 Bonnie J. Cardone , InSinC Editor Vicki Cameron , Books in Print Editor Sisters in Crime: Planning Ahead ......4 Gavin Faulkner , Newsletter Graphic Designer Peggy Moody , Web Maven Beth Wasson , Executive Secretary, P.O. 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