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Finding Your Writing Voice by Taking Risks on the Page

Finding Your Writing Voice: from Meek to Bold Click To Tweet

rhea discovering her writing voice
Rhea at Machu Picchu

At 72, Rhea Atwood found herself in her comfortable California apartment feeling her bed was “too soft.”

“I decided to listen to my bed and waited a few days for it to tell me what to do about it.”

Rhea spent the next four years following in the footsteps of the French Huguenots across the globe, visiting 17 countries and 5 continents, and surfing on a number of couches through couchsurfing.

Previously a cautious risk taker, Rhea became, in her own words, intrepid. At times she had no money and no place to stay. Can you imagine? And yet she persisted.

Rhea in Istanbul

Now, Rhea is writing a book about her experiences.

Although Rhea has written a walking guide and a book of historic photographs–Boston’s French Secrets and Upper Beacon Hill–her current project is her first foray into more narrative writing (the self-help memoir). With a change in genre comes the search to find her writing voice.

My advice? “Take risks on the page. In the same way you took risks by traveling alone at 72 through 76, not knowing where you’d stay or sometimes how you’d pay for it, you need to be adventurous on the page.”

How to Take Risks on the Page

  • writing journalExperiment with syntax: try super-short sentences or paragraphs in one chapter. Play with rhythm. Write a prose poem in one chapter. Or think jazz in Paris, African beats in Morocco.
  • Play with dialogue: try a whole chapter around dialogue.
  • Imagine: If you don’t remember how you felt or what you did, ask yourself, “What might I have felt?” You can always change it later, but this exercise can open the door to memory.
  • “Get Carnal” (Mary Karr‘s advice in The Art of Memoir): Keep asking yourself how something felt in your body, where in your body you felt it, how your body reacted to something, what you did with your body. These questions will help your readers experience the event along with you, as first hand.
  • Practice another point of view: The hotel concierge in Rome, the archivist in Transylvania, the stray dog in Nice.
  • Innovate around features: How about offering creative exercises, questions for reflection, sidebars, videos or cartoons?
  • Try on new forms: a prose poem in one chapter, a song in another.

These are experiments. Some–maybe many–of them will fail. Perhaps, miserably. Yet, in the experimenting, you will find your voice.

 

How Risky Should I Get?

I found myself in a related conversation just an hour later with another client, a therapist, who is about to speak with a publisher interested in his book. He admitted that he tried to retain a fairly neutral voice. After all, that’s his training.

writingHe wondered though:

  • What if he didn’t hold back so much?
  • What if he put himself out there?
  • Was he doing the right thing by meeting his readers where he assumed they are?
  • Or should he be bolder, more vulnerable, share his spiritual orientation?
  • Would he alienate his readers if he shared his religious and spiritual side?

Would the more prescriptive book have broader appeal? Or should he share his deeper thoughts and experiences?

We agreed he would pick one chapter and experiment. He could always change it back. But if he never tried, he’d never know.

He can explore this question again with his acquisitions editor, once he signs a contract, but just playing with a chapter and seeing what happens is the perfect place to start, to take a risk, to see writing as a true adventure.

My Turn, Your Turn: Take Risks Together

Me in Bangkok taken with the world’s worst phone camera (Samsung J3)

In less than 48 hours I begin my second trip to Bangkok to teach another writing workshop and do some writing of my own.

Last trip was an adventure in spontaneity and trust. The same intention I brought to my travels opened up my writing. I tried things I’d never tried before. Some of it didn’t work at all. Other parts, I’m kind of excited about.

So this trip, I’m tempted to return to the places I visited. To look with more trained eyes. To go deeper. So I can write in more detail.

But I’m letting go of that.

Aside from the day I teach at NIDA Business School, I’m going to play, be open to adventure and see what happens in my travels and my writing.

I’m bringing several writing projects but planning on working on none or all or some. I don’t know. I may just journal.

I’m enjoying the sense of freedom of allowing myself to not know, to be open to infinite possibilities, to wait and see what draws my eye, my ear, my pen.

How about you? Any risks you feel inspired to take? Any adventures that helped you find your writing voice? Please share your comments.

Lisa Tener

Lisa Tener is an award-winning book writing coach who assists writers in all aspects of the writing process—from writing a book proposal and getting published to finding one’s creative voice. Her clients have appeared on The Oprah Winfrey Show, CBS Early Show, The Montel Williams Show, CNN, Fox News, New Morning and much more. They blog on sites like The Huffington Post, Psychology Today and WebMD.

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Comments

  1. Cheryl Wheelright says

    Hi, Lisa,

    Welcome back and congratulations on seizing a writing-life adventure! Looking forward to reading what it brings to your writing table in the future.

    My question for you:

    I am attending the 2017 Writer’s Digest Conference in NYC in August. My goal is to pitch my book to as many agents as possible, and I’ve researched attending agents that seem to fit my genre (romantic suspense). The time limit is 90 seconds. I’ve never done this before.

    Any rock solid suggestions for a newbie making a 90-second pitch? I appreciate you and thank you for your advice or suggestions.

    • Lisa Tener says

      How exciting Cheryl.
      Here are a few tips:
      1. Don’t wait until the conference to learn about the agents present. Research each agent on the web to see what genres and topics they are interested in.
      2. Make sure you cover the 3 most crucial elements: your platform, the market for your book, what makes your book fresh and appealing. This should also include why people will buy your book (need you are fulfilling, features, your credentials). Start with your most compelling line–whether it’s about your significant platform or surprising information that your readers will discover. As literary agent Linda Konner often says, starting with something counterintuitive can get an agent’s attention.
      3. Practice your pitch multiple times. Get feedback. Time yourself. Make it tight and compelling. Relax. To some extent, you’re also auditioning for how well you’d do with the media and on camera. Agents want to know you’ll be good at the PR end. Be as polished as possible.
      4. Do not try to hand an agent your book proposal–the last thing they want is to carry more stuff with them! On the other hand, do provide a business card.
      Good luck!

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