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Writing Short Fiction: Voice and Writing Style

July 31, 2013 5:07 pm / Leave a comment

Dave Hood

The writer’s voice is everything the writer brings to the experience of writing short fiction, including education, socialization, values, beliefs, religion, opinions, and life experiences. The writer’s writing style is part of voice. This writing style is what makes a writer authentic, original, different from other writers. It is what readers hear when they read the short story. The writer’s voice is their “public persona,” which is revealed on the page. The most important features of writing style are word choice or diction, sentence patterns, literary techniques, and tone.

One of the popular writing styles of fiction is the minimalist style. It was a style popularized by Ernest Hemingway, and also endorsed by Raymond Carver. This style focuses on the belief that “less is more.” Writers use short paragraphs, short sentences, write with the active voice, and use action verbs and concrete verbs. The writer omits or deletes every detail that is not essential to the writing. Subtext plays a strong role in this style of fiction.

You can develop your fiction writing style by reading and analyzing short fiction, and then incorporating the techniques of other writers into your own fiction.

(Note: You will also use these same guidelines and techniques to write poetry, personal essays, and other types of creative nonfiction.)

In this article, I’ll discuss writing style as it applies to fiction writing. The following will be covered:

How to identify the author’s writing style.
Define Hemingway’s minimalist style.
Suggest a writing style to use for writing fiction.
Learning to write lyrical prose.
Developing your own writing style.

Analyzing Short Fiction

The writer’s style of writing is expressed through word choice or diction, tone of the writing, the use of imaginative language, such as simile, metaphor, imagery, the types of sentences or syntax , as well as the choice of fictional techniques.

The best short fiction writers use everyday language in a fresh and original way. They also avoid using avoid clichés and jargon. Often they share an interesting word that we’ve never heard—a word that has powerful meaning.

The best short fiction writers use a variety of sentence patterns, such as the use of loose and periodic sentences, sentence fragments, simple, compound, complex, compound-complex sentence.

The best short fiction writers use a variety of literary techniques, such as flashback, suspense, dialogue, showing and telling, and interior monologue.

The best short fiction writers also use the poetic devices of poetry, including simile, metaphor, personification, imagery, alliteration, and allusion. Some writers use similes and metaphors infrequently, such as Carver and Hemingway. Other writers use them a great deal.

The best short fiction writers use a tone that is conversational and respectful. Tone refers to the writer’s attitude to his/her subject and view of the audience. Never use a condescending tone. Learn to write fiction by reading short stories as a writer. Analyze how the writer used the elements of fiction, literary techniques, and poetic devices to constructed the short story. As you read, answer these questions:

How does the writer begin the short story? With conflict? With setting description? With dialogue? With action? With a memorable event?
How does the writer develop the setting? What is the time and place of the story? Is it real or fantasy? Does the setting create a mood? Is the setting the antagonist? Does the setting provide a backdrop for the story?
A short story must include conflict, turning point, and resolution. Identify the conflict, turning point, and resolution of the story.
Which point of view does the writer use?
What is the theme? How does the writer reveal theme to the reader?
Where does the writer use scene and summary? What are the features of each scene?
where is there dialogue in the story? How does the writer use dialogue? What conventions are used?
What fictional techniques does the writer use? What poetic devices does the writer use?
What is the writing style of the writer? Does the writer use simple or fancy words? Does the writer use simple sentences , compound sentences, or fragments?
How does the writer end the story? Does it include an epiphany? Lesson learned? Is the ending open, closed, or a summary?

One of the popular writing styles of short fiction is minimalism, popularized by Ernest Hemingway. He wrote minimalist short fiction. Years later, short story writer Raymond Carver also embraced this style of storytelling. Minimalist short fiction has these attributes:

Concrete nouns and action verbs
Few adverbs and adjectives
Short sentences
Short paragraphs
Short words and everyday language, as well as familiar instead of fancy words.
Minimal character and setting description
Minimal background details
Very little use of figurative language, such as simile, metaphor, personification
Insufficient resolution or ending to the story

Popular Fiction Writing Style

To write short fiction, develop a writing style that includes:

Concrete nouns
Action verbs
Active voice
Sentence variety
Figurative language, such as simile, metaphor, symbolism, personification, allusion
Lyrical prose, using alliteration, assonance, repetition, parallel structure

Develop a writing style that is friendly and conversational. Learn to show and tell readers. Use sensory detail, language that appeals to the reader’s sense of sight, smell, taste, touch, hearing. Use adjectives and adverbs sparingly. As well, read and master the advice in Strunk and White’s “The Elements of Style.”

Learning to Writer Lyrical Prose

Author Constance Hale, in “Sin and Syntax,” explains how you can learn to write literary prose. There are found components: voice, lyricism, melody, and rhythm.

Voice

The writer must consider the literary meaning and implied meaning of words, as well as avoid using clichés and jargon. The writer should also use a variety of sentence patterns, such as a fragment, simple, and compound sentences.

Lyricism

The writer can create prose that sound musical by using the following:

Imagery-Use of sensory details.
Metaphor-Making a comparison between unlike things, without using “like” or “as.”
Simile-Making a comparison between unlike things, using “like” or “as.”
Personification. Describing things and objects and ideas by using human attributes. Example: The bible preaches its wisdom to anyone who takes the time.
Description. Using concrete, significant, and particular description. Example: He pressed the shutter on his black Nikon, full-frame camera, using a wide-angle lens, capturing a fleeting moment in time, a man being shot by police, for all the world to see.
Repetition. Repeating words and phrases in a sentence or sentences that are close to each other.

Example:

Streets and highway filled with an avalanche of snow. The plows bulldoze it away. Icicles hang from the eaves like a work of installation art. Cars stuck, spinning their wheels. The Maple leaf, stands, watches, as the neighborhood shovels. Kids frolic, build snow forts, toboggan down hills of snow in the park behind the school. The storm has interrupted daily routines and rituals.

Melody

The writer can create prose that have a melody by using the poetic devices of:

Assonance-Positioning two or more words with the same vowel sounds close together in a sentence.
Alliteration- Positing two or more words with the same initial consonant sounds in a sentence.
Internal rhyme Selecting words that rhyme and using them in the middle of a sentence.
Onomatopoeia -Using words that sound what they describe. Example: The fire crackled.

Rhythm

The writer should strive to create sentences that have rhythm. It refers to pattern, pace, repetition, and parallel structure of a sentence. A simple way to create rhythm is to count the stressed syllables in a sentence. The writer can slow down the pace with long sentences, and speed up the pace with short sentence. Create rhythm in your prose by developing sentences with a pattern of stressed and unstressed syllables. Learn to use repetition and parallel structure. Example: He smoked, drank, womanized, and died one day, lounging on the beach in the sunshine with a smile. ( Slow pace)

Developing Your Writing Style

Part of learning to write is developing your own writing voice. How do you do this? There are several ways. The most important advice I have read was written by Elizabeth Berg, the author of “Escaping into the Open: The Art of Writing True.” She suggests that you can develop your writing voice by putting down on to paper the words you are hearing in your mind. In other words, be yourself as you write. Use your own words, and don’t imagine you are someone else as you write. Write honestly—share your thoughts, feelings, opinions, impressions, stories that are important to you. And share them by using your own language–how you speak. She also suggests that you should not write about what you know but that you should write about what you love, what you are passionate about.

Next, you should write often and regularly. Start by keeping a journal. Write everyday in this journal, recording observations, interesting quotations, memorable lyrics, overheard conversation, lines of poetry. Write poetry, anecdotes, short, short essays. Try using the technique of stream of consciousness. Write by freewriting. Record “small, fleeting moments.”Ask a question to yourself, and then write an answer. Include interesting photograph, news stories, advice columns. Write about your emotional truth—how you felt about something. In your journal, you can write about anything. Journal writing helps you develop the habit of writing and your writing skills. It can also be a place where you record “possible ideas” for a poem, short story, and personal essay.

Also, learn all about writing style. The best and easiest book to read is “The Elements of Style” by Strunk and White. It provides the rules and guidelines of a good writing style. If you intend to write essays or other creative nonfiction, you should also read “On Writing Well” by William Zinsser. Both of these books are classics, are used in university and college writing courses, and are recommended by most writers. Every writer should have copies of these inexpensive paperbacks on their bookshelf for reference. As well, read Constance Hale’s “Sin and Syntax.”

Next, read short stories to learn how the writer constructed the story. If you are not sure, read “How to Read Like a Writer” by Francine Prose.

Fourthly, make sure you understand the rules and guidelines of grammar, such as for use of verbs, adjectives, nouns, pronouns, and more. If you don’t know these rules or guidelines, pick up a copy of “Woe Is I:The Grammarphobe’s Guide to Better English in Plain English” by Patricia T. O’Connor. Another great book that presents grammar in with a humorous tone is “The Deluxe Transitive Vampire: The Ultimate Handbook of Grammar for the Innocent, the Eager, and the Doomed” by Karen Elizabeth Gordon. I also recommend “The Glamour of Grammar: A Guide to the Magical and Mystery of Practical English” by Roy Peter Clark.

Learn the rules of punctuation. How to use the comma, exclamation mark, question mark, quotation marks, semi colon, colon. Essentially, you must memorize the rules. To learn the rules of punctuation, I suggest you read “The Glamour of Grammar” by Roy Peter Clark.

Learn to the major types of sentence patterns and then to write poetry, short fiction, and personal essays. The syntax of a sentence is an important feature of the writer’s voice. To develop your own voice, learn to write simple, compound, complex, compound-complex sentences. Learn when to use a sentence fragment and how to write using parallel construction. Learn how to use items in a series. Learn how to write both periodic or cumulative sentences. Where can you go for advice?

Language choices contribute to writer style. Therefore, you should own a dictionary and thesaurus. Use them for enjoyment and to improve your language skills. Develop your language skills by looking up the meaning of words you don’t understand in a dictionary. Find the precise word by checking your thesaurus, which includes synonyms. To expand your vocabulary, begin learning a word a day. Use the words you learn in your writing. Don’t write to impress. Instead, use language to express yourself, to communicate meaning, to entertain, to share important ideas, knowledge, and wisdom with your audience.

If you aspire to become a creative writer, learn how to write imaginatively. Imaginative writing involves learning how to show and tell the reader, writing vivid descriptions of sensory imagery–language that appeals to the reader’s sense of sight, smell, taste, touch, hearing. It involves using literary devices of simile, metaphor, personification, symbolism, and other devices that you find in fiction and poetry and creative nonfiction. There are countless books on the market that you can purchase. For a good overview on how to write creatively and imaginatively, I suggest you purchase “Imaginative Writing: The Elements of Craft” by writer/instructor Janet Burroway. It’s a superb text that will help you.

Another way to develop your voice is to share emotional truth in your writing. It means telling others how you feel. For instance, if you lost your job–tell your readers how it felt. If you were diagnosed with a serious disease, share your thoughts and feelings with your readers. If you split up with a girlfriend or marital partner, tell the audience how you felt by expressing the emotional truth. Keep in mind that two people can have different emotional views on a situation. And so , there is no right or wrong “emotional truth.” Emotional truth has to do with how you felt about a person, about an experience , about an event.

It takes time to develop your writing voice, providing you write on a regular basis. Many writing instructors suggest you keep a journal and experiment in it. In part, developing your voice is an unconscious effort–you learn by reading and writing, without making a conscious effort. In part, you can make a conscious decision to develop your voice. For instance, you can learn to read like a writer. You can learn grammar, spelling, punctuation. You can experiment with language and sentence variety. You can make a conscious choice about what sort of tone to use. The easiest way to develop your voice is to “put down on paper” what is on your mind.

Your writing voice is what a reader hears when they read your words. Your writing voice is your “public persona,” which is expressed in your writing. It is revealed in the language that you use, the types of sentences that you use, and your tone–your attitude toward the reader and the topic or idea you are writing about.

Additional Reading

To learn more about how to develop your developing and polishing your writer’s voice, read the following superb books:

The Elements of Style by Strunk and White
On Writing Well by William Zinsser
Sin and Syntax by Constance Hale
The Glamour of Grammar: A Guide to the Magic and Mystery of Practical English by Roy Peter Clark
The Deluxe Transitive Vampire: The Ultimate Handbook of Grammar for the Innocent, the Eager, and the Doomed” by Karen Elizabeth Gordon
Woe is I: the Grammarphobe’s Guide to Better English in Plain English by Patricia T. O’Connor
Imaginative Writing: The Elements of Craft by Janet Burroway

The Craft of Fiction:Techniques of Short Story Writing

September 18, 2011 11:00 pm / 3 Comments on The Craft of Fiction:Techniques of Short Story Writing

By Dave Hood

Learning to write fiction requires that you not only understand the elements of fiction, such as setting, plot, character, dialogue, theme, but also the techniques of fiction (the craft of fiction) such as characterization, minimalism, epiphany, plot twist, scene, summary, showing, not telling.

In this post, I’ll discuss some of the most popular techniques that writer’s put into use in writing short stories and novels. The following will be covered:

Showing and Telling
Flashback
Minimalism
Figurative Language
Realism
Interior monologue
Stream of consciousness
Plot twist
Epiphany

Showing and telling. The writer dramatizes the story by showing and not telling. Showing the reader what happens helps to construct a believable story. A believable story assists the writer in creating a dream inside the mind of the reader. To create the dream, the reader must narrate the story by “showing” the reading what happens. The best way to show the reader is to provide concrete and specific descriptions, sensory details, and particular details. The writer also narrates the story in scenes, which include dialogue, time and place details, action, description. All scenes have a beginning, middle, and end, and are like a scene in a movie.

At times, the writer will also need to tell the reader what happens, to compress time, to add background details, to show reflection, to provide narrative commentary. The writer does this with a summary—the material in the story between scenes. A summary “tells” the reader what has happened in the story.

Flashback. It is a scene within a scene, or summary, in which the writer reveals details about the past, something that happened before the current narrative, and a way to show fictional time. For instance, it is a way to add background details about events that happened in the past. It is a way to provide background details about the protagonist. This backdrop enables the reader to understand the current story. It is effectively used in storytelling to reveal at the “right point.” The writer can use a scene or summary to write the flashback. The writer often begins by introducing the flashback with the following: I recall…I remember….

Minimalism. It is a literary writing style introduced by Ernest Hemingway, who used short sentences, short paragraphs, concrete nouns, action verbs, and vigorous prose to narrate stories. He used adjectives and adverbs sparingly. His prose were sparse. He made ever word count—each word had to provide meaning to the story; Otherwise, he omitted that word. His writing was based on his “iceberg theory”, which demands that writer’s do one thing—omit. This metaphor suggests that there is a visible iceberg—and below the surface, there is unseen depth, or subtext. Hemingway omitted every detail nonessential to the emotion he was trying to create in the story. He omitted nonessential details that would create a plodding read. He omitted backstory that could be guessed by reading the plot. By omitting detail, not sharing everything with the reader, Hemingway is able to create “subtext”, emotional tension, suggested meaning—more powerful than if he stated it in detail with words. He created significant meaning through understatement and omission—and the silences throughout the story. For more information on how to develop the minimalist style of writing, you can read Writing Like Hemingway by R. Wilson.

Figurative Language. The writer describes one thing by comparing it to something else. It is a good literary device to use to compare the abstract with something concrete, in order to be understood by the reader. Writers use various types of “figurative language” to create a dream inside the mind of the reader, add vivid details, entertain the reader, and create a memorable story. Common types a figurative language used by writer are simile, metaphor, symbolism, and personification. When the writer uses simile, he/she makes a direct comparison between two different things using “like” or “as”. When the writer uses metaphor, he/she makes an indirect comparison between two different things by suggesting that “a” is “b.” For instance, he is a robot at work. The writer uses existing symbols in literature, such as a cross, black crow, blue sky, sunset, or creates new symbols. The symbol is something that has deeper meaning, different meaning than its literal meaning. For instance, her cheeks are like red roses. When the writer uses personification, he assigns human attributes or characteristics to things or object or animals. For instance, The dog talked to me as we walked along the lonely path.

Realism. A realistic short story or novel depicts setting, inciting incident, scenes, and characters realistically, in accordance with the reality as most readers perceive it. The writer narrates a story that includes characters and events which are apparently the most ordinary and uninteresting, in order to extract from these their full value and true meaning. The writer describe human behaviour and surroundings or to represent figures and objects exactly as they act or appear in life. Realism is nothing more and nothing less than a true to life portrayal human nature and the human condition. Writer Anton Chekhov used realism in writing his short stories.

Stream of Consciousness. When using first person POV, the writer can use this literary device to reveal the disjointed or disorganized thoughts, feelings perceptions, and memories that flow in and out of the main character’s mind. It is a special mode of narration that undertakes to capture the full spectrum and the continuous flow of a character’s mental process. James Joyce used this technique in Ulysses (1922), and it was further developed by Virginia Woolf in Mrs Dalloway (1925) and William Faulkner in The Sound and the Fury (1928). The writer tries to capture a character’s unbroken flow of internal thoughts. The writer can describe the unspoken thoughts and feelings of a character without the devices of objective narration or dialogue. In “To the Lighthouse”, Virginia Woolf makes constant use of this technique, and it is established as the predominant style from the beginning. In this novel, the action occurs not in the outside world but in the thoughts and feelings of the characters as exhibited by the ongoing narrative.

Interior monologue. When using the first person or third person subjective, the writer has the ability to enter into the mind of the main character, and share what the character is thinking and feeling. When the writer puts into use interior monologue, the reader is able to uncover the character’s thoughts in sequence. The writer presents the thoughts of the character in logical progression, often by describing inner conflict, imagined dialogue, or self-analysis. Most often the writer uses interior monologue in reflection or the memories the character has. The interior monologue is like hearing the character’s internal thoughts. The writer can describe the unspoken thoughts and feelings of a character without the devices of objective narration or dialogue. In “To the Lighthouse”, Virginia Woolf makes constant use of this technique, and it is established as the predominant style from the beginning. In this novel, the action occurs not in the outside world but in the thoughts and feelings of the characters as exhibited by the ongoing narrative.

Plot Twist. Something unexpected happens in the story. It is a change in the expected outcome or expected ending of a story. When a plot twist happens near the end of a story, especially if it changes one’s view of the preceding events, it is known as a twist ending. A writer uses a plot twist to create surprise and build tension and add suspense.

Epiphany. It is a sudden revelation or insight which inspires the character, most often the protagonist, to change his views or beliefs, and his/her behaviour. It occurs in the mind of the character, and results in character change. It is caused from a particular event, experience, conflict in the story, most often revealed in a particular important scene . Epiphany is the moment of sudden revelation or insight by the character, and the epiphany must result in some action by the character. James Joyce first introduced the technique of epiphany in his collection of short stories “Dubliners.”

For more information on how to learn the craft of writing a short story, you can read “”by Janet Burroway.