On Voice, Listeners, and Francine Prose

April Scouts 2014

A Wise Voice

It's not only what you say,

but the manner in which you say it.

It's not only the language you use,

But the tone in which you convey it.

Words come from the mind

And grow by study and art,

But tone leaps from the inner self,

Revealing the state of the heart.

---Author Unknown

I'm not sure what was the state of the heart of these guys, but their voices were truly loud and insistent this past Sunday morning. I kept hearing their call and thought they were a part of a flock flying overhead. But when the noise didn't go away, I went looking. There they were, on the barn roof next door. And they stayed a looooong time--and made A LOT of noise. What in the world were they doing? Who were they talking to? Who was listening?

Francine Prose poses similar thoughts on the writer's world in Reading Like a Writer, A Guide for People Who Love Books and For Those Who Want to Write Them. Chapter 5, Narration: 

"The only way I was able to trick myself into writing a first novel, as well as the first short story I published that I liked...was to write both the novel and the story as stories within stories, narratives told by one character to another. Eavesdropped upon by the reader, the storytellers and their audiences appeared at the beginning and end of the works, and occasionally throughout, to interrupt and comment upon the action.

"The reason I say 'tricked myself' was that this device enabled me to overcome one of the obstacles confronting the novice writer. This hurdle disguises itself as the question of voice and of who is telling the story...when in fact the truly problematic question is: Who is listening? On what occasion is the story being told, and why...?

"...For me, writing framed stories not only answered all those troubling questions about the narrator's audience, but also neatly integrated the answers into the narrative itself. I knew not only who was speaking but who was being spoken to, where the speaker and listener were, when and why the event--that is, the telling of the story--was occurring. This permitted me to skip over slow parts of the plot by having the listener become impatient and hurry the narrator along.

"...Was it something that one character would tell another in the way that people tell stories about their lives? Would anyone imagine that these recounted events would hold another human being's interest, and would the reader believe that anyone, even a fictional character, would stay focused and pay attention all the way through?"

My geese friends may have been calling to others in the flock. They may have only been talking to each other. But either way they represented storyteller and listener to me, a necessary pair.

I'll approach voice from a different angle now, by way of a framed story--though I don't intend to climb the barn roof to do it. How about you, what would you say about the writer's voice? Do you have a listener in mind when you write?

___________________________

Detour

Establishing goals is all right if you don't let them deprive you of interesting detours. --Doug Larson

Confession time. I didn't make my goal. You might remember the challenging stack of books I brought home from the library recently. Well, the results are in. 11 books = 7 read, 4 renewed. But it's okay. I took a bit of a detour when I added Francine Prose's Reading Like a Writer to the pile.

I have no regrets, though. Otherwise, I may not have slowed down enough to catch some really memorable writing.

For example, in Chapter Two, Words, Prose says, "All the elements of good writing depend on the writer's skill in choosing one word instead of another." Here, in Avi's Poppy, the word "syrupy" makes all the difference: "Only thin ribbons of light seeped down through the green and milky air, air syrupy with the scent of pine, huckleberry, and juniper." It wouldn't be the same if "thick" had been substituted instead.

In Chapter Three, Sentences: "Read your work aloud...Chances are the sentence you can hardly pronounce without stumbling is a sentence that needs to be reworked to make it smoother." How about this from the prologue to Natalie Babbitt's Tuck Everlasting: "The first week of August hangs at the very top of summer, the top of the live-long year, like the highest seat of a Ferris wheel when it pauses in its turning." The cadence of this sentence, when read aloud, is delightful.

Chapter Four, Paragraphs: "In general...the paragraph could be understood as a sort of literary respiration... Inhale at the beginning of the paragraph, exhale at the end." Breathe this, from Alan Armstrong's Raleigh's Page: "The crossing was rough. It rained and sleeted on the Channel, the wind shrieking and snarling in the rigging like spirits. The ship creaked and groaned like she was dying. The trip was all staggering up steep hills of frothing waves and falling down the other side, only to begin the same again as waves dashed and slobbered them. They made nothing forwarad; it was all side to side."

Chapter Eight, Details: "If we want to write something memorable, we might want to pay attention to how and what we remember. The details are what stick with us." See if the following, from Karen Cushman's Alchemy and Meggy Swann, sticks with you like it did me: "The smiling and nodding Master Grimm was stuffed into a doublet so tight that Meggy thought his belly might burst forth and fire buttons like cannon-shot across the room."

I'm not finished with Prose's book yet. I still have Narration, Character, Dialogue, and Gesture to study. But that works out just about right. Four additional categories. Four more books. The detour's been worth it.

What words, sentences, paragraphs, or details have jumped out at you in your reading lately?