In
books, there is one goal—the suspension of disbelief.
Narrative voice is what you
use to do this. It’s the VOICE of the
storyteller.
The styles of voice are complex, so it’s advised that you
pick up a few good books with writing exercises to help you get comfortable
with them if you’re just starting out.
But here’s a rough summary:
Before you begin
you want to decide which voice would best tell your story. Third person narrative voice is the most traditionally used
in fiction writing, although in the last decade first has made a big comeback.
The
one exception to this rule is prologue and epilogue. Those are seen as separate “bookends” to the
main story. You can have a first person
story and a third person epilogue, that’s fine. It’s just important that throughout the main
event you keep one narrative and do not switch voice.
This
is usually the point where someone shouts, “But in Ethan Frome…!” Yes, Edith Wharton's ETHAN FROME is one of the rare examples where
the story is structured to have two voices.
Reading it, I believe it to be crafted that way. The difference is that most modern books are going to follow the standard, and the voice switch has to serve a purpose. It can't be there to make-up for anything the voice you picked initially didn't cover. Unfortunately, voice is one of those "learn the rule, then you can bend it" principles.
The guideline isn’t put in place to be stodgy or to thump the rulebook, it’s to
say that jumping voice halfway through disrupts the flow. It puts ripples in the suspension of disbelief.
Essentially
you’re putting two narrators in one story: the character’s voice and the omniscient’s
and that’s going to startle your reader.
Imagine
that you’re riding along in the character’s first person
perspective, it’s “I felt,” and “my
life.” Then out of the blue, a loudspeaker turns on and starts calling the
character “she, her…” The story shifts,
doesn’t it? You look around and start to
ask questions: Who in the heck is this other
voice??
It’s funny but true. The last thing you want is your reader questioning
who's telling the story. There’s a fine
line between creative freedom and inconsistency, and you don’t want to sink your
manuscript by being too avant-garde.
Sticking
with one voice is the way to go.
Tomorrow’s
letter is one I’ve been looking forward to—O is for Onomatopoeia.
I
promise to keep it short and fun.
Goodnight. ;0)
great post. A good narrative voice is what i strive for.:)
ReplyDeleteNutschell
www.thewritingnut.com
Happy A-Zing!
Thank you! I knew this would be a complex topic, I get tripped up by voice all the time. Thanks for stopping by! :0)
DeleteNarrative voice is very important...especially when it's George Burns. :-)
ReplyDeleteHey sweets! Lol. Yes, it so hard to tell Mr. Burn no. Something about that face. :0)
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