- After (current habit), I will (habit I need to develop).
- After (habit I need to develop), I will (habit I want).
- After I walk the dog, I will write for 30 minutes.
- After I write for 30 minutes, I will go on social media.
When I first started writing what is now Intercepted, my debut novel, I did it hidden in my basement with the intention of never letting it see the light of day, but as I kept writing — and, let’s be honest, deleting — I grew more interested in the craft, and more interested in what made the authors I admire stand out from the rest. One thought kept popping into my head over and over again: writing voice.Yes, the term “writing voice” may seem like a simple enough concept on the surface, but what does it really mean? As writers, there are so many things we consider as we put our words onto paper: filter words, dialogue tags, adverbs, and even show. Am I a plotter or a planner? Where does my manuscript belong in terms of genre and sub-genre? What in the world is a query letter? All of these questions can be answered concisely, but when it comes to voice, the explanation becomes more complex. Voice can be a combination of your writing tone, sentence structure, patterns, and perspective. It is a stamp on your writing that makes your work personal and recognizable, so much so that your audience can identify a sample of writing as yours without ever seeing your name. As a debut author, that seems like a daunting task, but it makes all the difference in how you will be received as a writer. Presently, in the world of publishing, there are so many talented authors saturating the market that standing out amongst the crowd can seem almost impossible. This is one of the reasons why voice is so important. For me, discovering my voice started well before the thought of writing a book ever crossed my mind. I blogged; it was not a popular one by any means, unless you ask my mother or best friend. It was just a means to stay in touch with friends and family and update them on the happenings in my life. However, as I continued to write my blogs, the comments from readers started to influence the way I wrote. I would get a thrill when someone would reach out to me and tell me how hard he or she laughed at my latest post. Even better was when I’d get an email from a reader stating how much they wanted to get together and have a drink after reading one of my posts. After a while, I knew what I wanted my readers to feel when they read my words. I wanted my stories to be relatable and fun. I wanted my readers to feel like they were having a night out with friends. And that feeling of relatability transferred into my writing style once I finally became brave enough to start my manuscript. Even if you don’t blog, there’s no way in this day and age that you aren’t writing to someone at some point during your day. And while I’m not sure anybody wants to read a book of tweets or Facebook statuses, you are still using writing to get your point across. Another great way to hone in on your voice is to grab a notebook or open a word document and go wild. Just write whatever your heart desires. A quick google search will yield you tons of writing prompts if that’s what you need to get your juices flowing.
Sit down and ask yourself what kind of author you want to be. Decide what experience you want your reader to have. Ask yourself what you can bring to the story that nobody else can.Most importantly, be yourself. Find inspiration from your favorite authors and allow it to guide you when developing your style. Part of being a writer is being a reader. Knowing what draws you to an author is crucial in creating your own voice. Everyone has an influence, just don’t lose your voice trying to emulate someone else. As writers, we all might be a little crazy to do what we do, so make sure you’re doing it in a way that makes you happy. Whether you’re writing a romantic comedy, thriller, or memoir, remember that yourstory is important and your voice is needed. Writing/Photo by Aaron Burden on Unsplash
Did you always want to write? How did you start your career as an author?
Yes. As a child, when people used to ask me what I wanted to be when I grew up, I would say I wanted to be an authoress (that word certainly dates me, doesn’t it?). I used to fill notebooks with stories. When I grew up, of course, I discovered that I needed to eat so became a high school English teacher. Then I got married and had children. There was no time to write. I took a year’s leave of absence following the birth of my third child and worked my way through a suggested Grade XI reading list. It included Georgette Heyer’s Frederica. I was enchanted, perhaps more than I have been with any book before or since. I read everything she had written and then went into mourning because there was nothing else. I decided that I must write books of my own set in the same historical period. I wrote my first Regency (A Masked Deception) longhand at the kitchen table during the evenings and then typed it out and sent it off to a Canadian address I found inside the cover of a Signet Regency romance. It was a distribution centre! However, someone there read it, liked it, and sent in on to New York. Two weeks later I was offered a two-book contract.
What’s the best piece of advice you have received?
Someone (I can’t even remember who) at a convention I attended once advised writers who sometimes sat down to work with a blank mind and no idea how or where to start to write anyway. It sounded absurd, but I have tried it. Nonsense may spill out, but somehow the thought processes get into gear and soon enough I know if what I have written really is nonsense. Sometimes it isn’t. But even if it is, by then I know exactly how I ought to have started, and I delete the nonsense and get going. I have never suffered from writers’ block, but almost every day I sit down with my laptop and a blank mind.
What clichés or bad habits would you tell aspiring writers to avoid? Do you still experience them yourself?
You don’t have to know everything before you start. You don’t have to know the whole plot or every nuance of your characters in great depth. You don’t have to have done exhaustive research. All three things are necessary, but if you wait until you know everything there is to know, you will probably never get started. Get going and the knowledge will come—or at least the knowledge of what exact research you need to do.
Do you ever base characters off people you know? Why or why not?
Never consciously. I wouldn’t want anyone to recognize himself or herself in my books. However, I have spent a longish lifetime living with people and interacting with them and observing them. I like my characters to be authentic, so I suppose I must take all sorts of character traits from people around me. And sometime yes, I suddenly think “Oh, this is so-and-so.”
What are three or four books that influenced your writing, or had a profound affect on you?
All the books of Georgette Heyer would fit here. She was thorough in her research and was awesomely accurate in her portrayal of Georgian and Regency England. At the same time she made those periods her own. She had her own very distinctive voice and vision. When I began to write books set in the same period, I had to learn to do the same thing—to find my own voice and vision so that I was not merely trying to imitate her (something that never works anyway).Learn more about the book below:
It should be a while before I see Dr. Death So it would sure be nice if I could get my breath Well, I’m not the crying nor the whining kind Till I hear the whistle of the 309 Of the 309, of the 309 Put me in my box on the 309. Take me to the depot, put me to bed Blow an electric fan on my gnarly old head Everybody take a look, see I’m doing fine Then load my box on the 309 On the 309, on the 309 Put me in my box on the 309.Dad was asthmatic and had great difficulty breathing during the last months of his life. On top of all this, he suffered with recurring bouts of pneumonia. Still, through the gift of laughter, he found the strength to face these infirmities. This recording is steeped in irony, although made mere days before his passing. His voice is weak, yet the mirth in his soul rings true. Dad was many things, yes. He was tortured throughout his life by sadness and addiction. His tragic youth was marked by the loss of his best friend and brother Jack, who died as the result of a horrible accident when John R was only twelve. Jack was a deeply spiritual young man, kind and protective of his two-year-younger brother. Perhaps it was this sadness and mourning that partly defined my father’s poetry and songs throughout his life. He was likewise defined at the end of his life by the loss of my mother, June Carter. When she passed, their love was more beautiful than ever before: unconditional and kind. Still, it could not be said that any of this—darkness, love, sadness, music, joy, addiction—wholly defined the man. He was all of these things and none of them. Complicated, but what could be said that speaks the essential truth? What prevails? The music, of course . . . but likewise . . . the words. All that made up my father is to be found in this book, within these “forever words.” When my parents died, they left behind a monstrous amassment of “stuff.” They just didn’t throw anything away. Each and every thing was a treasure, but none more than my father’s handwritten letters, poems, and documents, ranging through the entirety of his life. There was a huge amount of paper—his studies of the book of Job, his handwritten autobiography Man in Black, his letters to my mother, and likewise to his first wife, Vivian, from the 1950s. Dad was a writer, and he never ceased. His writings ranged through every stage of his life: from the poems of a naive yet undeniably brilliant sixteen-year-old to later comprehensive studies on the life of the Apostle Paul. The more I have looked, the more I have understood of the man. When I hold these papers, I feel his presence within the handwriting; it brings him back to me. I remember how he held his pen, how his hand shook a bit, but how careful and proud he was of his penmanship—and how determined and courageous he was. Some of these pages are stained with coffee, perhaps the ink smudged. When I read these pages, I feel the love he carried in those hands. I once again feel the closeness of my father, how he cared so deeply for the creative endeavor; how he cared for his loved ones. There are some of these I feel he would have wanted to be shared, some whose genius and brilliance simply demanded to be heard. I hope and believe the ones chosen within these pages are those he would want read by the world. Finally, it is not only the strength of his poetic voice that speaks to me, it is his very life enduring and coming anew with these writings. It is in these words my father sings a new song, in ways he has never done before. Now, all these years past, the words tell a full tale; with their release, he is with us again, speaking to our hearts, making us laugh, and making us cry. The music will endure, this is true. The music will endure, this is true. But also, the words. It is ultimately evident within these words that the sins and sadnesses have failed, that goodness commands and triumphs. To me, this book is a redemption, a cherished healing. Forever. John Carter Cash 35,000 feet above western Arkansas, flying east . . .