Voice as Character
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For many, one of the challenges of writing is making sure each character has his own unique voice. Who hasn’t received a rejection that referred to our “puppet” or “cardboard” characters? Attending to the body and physicality of our characters can help.
An improv theater exercise has each student walk across the room with a different part of his body leading the way. Try it. Walk across the room with your chin leading the way. Then, with your right shoulder leading the way. By the time the student gets to the other side of the room the way he carries his body has begun to create a particular voice that is not the author’s own.
How does a four-year-old walk across the room? How does an exhausted father walk across the room? Body contributes to voice.
Another way to explore voices is to sink into images (even caricatures) of different people. William Steig’s drawings done long before he thought of SYLVESTER AND THE MAGIC PEBBLE can help our minds play and discover.
Given their body posture and facial expression, how does each of the following characters express their reaction to the scene next to them?
The differences in each character’s response is what makes them unique and interesting.
THE STEIG ALBUM by William Steig. Duel, Sloan and Pearce, 1953.
Voice as Character
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In many ways voice comes down to character whether we are referring to characters in a story or the author/narrator telling the story. Voice is communication and the desire for connection between people. This connection may be face-to-face or leap over years and miles through reading.
A character’s dialogue and action are guided by back-story, but primarily by her immediate wants or needs of the other characters. If a character has no needs or wants why is she in the story? So…what do we, as writers, want or need from our readers? What does our narrator’s voice reveal about us?
As writers and storytellers our primary “want” is capturing and keeping the attention and emotions of our audience. Even if our desire is to do something supposedly more important than keeping their attention such as teaching them something we need answer this reality: How can you teach or inform anyone unless you have their attention? The vital next question is: What are we doing to achieve that “want” of keeping their attention? Volume? Tone? Attitude?
If we encounter resistance to achieving our want in life, we eventually learn that the best tactic is to try another approach. Then another and another. As picture book writers we want the same toolbox of approaches. And, to always being aware of what our storyteller’s voice reveals about us. Warm? Comical? Demanding? Bossy? Scolding? Condescending? Playful? Challenging? Most of all, is it a voice eager to share an experience with an equal?