Okay so, I’ve written a voice driven story that I want to start shopping around. But here’s the catch. No matter how refined it is there’s the trouble of certain parts of the story being told by my narrator about things that happened when they weren’t there. I don’t know if I can mail that part so it doesn’t interrupt the flow of the story. Question Chuck how does a first person narrative include a story about something that happened when they weren’t there?
Also, just read This Is US, Excellent last night. Not gonna lie, I had trouble fully understanding the speech and visualizing the story at times. I feel like it must be more important to keep the sanctity of the character, but do we concede ever for the readers' sake?
Hey Chuck, the eye of Cheops arrived this morning along with its “baggage”. Thanks for making my morning, man. I mean, cursed jewellery and plush doughnuts -- need I say more?
Voice-driven fiction kicks ass. Can I name any examples? I’m gonna go with Irvine Welsh’s “Filth” and Bret Easton Ellis’ “American Psycho” because they seem like good examples, I guess.
I enjoyed this article on craft a lot. I'm feeling that the book I'm currently working on feels stagnant about half way through it. I think a rewrite with voice driven fiction will give it the Frankenstein spark it needs. thanks.
Congrats to Krissy and Andrew last night at Hindsight Story Night. Hopefully, we can all read their work when it gets published someday.
It was fascinating to see the crowd's reaction to my story last night compared to the last one I read at Hindsight. Not just the laughs. But the visible level of engagement. Really cemented the importance of character over plot to me. Thanks again for putting on an amazing evening, Chuck! And for yet another lesson learned.
Chuck, If you ever read my stuff, please do me the favour of telling me if I cross the voice-driven threshold. But please, more importantly, tell me if I haven’t so that I may break my jaw and then reset it in the hope that the resulting voice may sound better.
George Saunders does a bunch of voice-driven short fiction. See quote below from his story, “Jon”
“And then nightfall would fall and our facility would fill with the sounds of quiet fast breathing from inside our Privacy Tarps as we all experimented per the techniques taught us in "It's Yours to Do With What You Like!" and what do you suspect, you had better make sure that that little gap between the main wall and the sliding wall that slides out to make your Gender Areas is like really really small. Which guess what, it wasn't.”
And that’s before the narrator’s scifi brain implant thing is removed and he can only speak in broken advertising copy.
Love this, Chuck. It’s finding that voice that can be the difficult part 😊
Can you name examples of voice-driven fiction?
Now that's "see ring" fiction. Thanks!
How to depict a voiceover driven story? Oh, thats the narrator. I thought I was onto something.
Okay so, I’ve written a voice driven story that I want to start shopping around. But here’s the catch. No matter how refined it is there’s the trouble of certain parts of the story being told by my narrator about things that happened when they weren’t there. I don’t know if I can mail that part so it doesn’t interrupt the flow of the story. Question Chuck how does a first person narrative include a story about something that happened when they weren’t there?
How much is a voice a distinctive speech pattern/style? And how much is it an exclusive perspective that few people share?
Also, just read This Is US, Excellent last night. Not gonna lie, I had trouble fully understanding the speech and visualizing the story at times. I feel like it must be more important to keep the sanctity of the character, but do we concede ever for the readers' sake?
Hey Chuck, the eye of Cheops arrived this morning along with its “baggage”. Thanks for making my morning, man. I mean, cursed jewellery and plush doughnuts -- need I say more?
Voice-driven fiction kicks ass. Can I name any examples? I’m gonna go with Irvine Welsh’s “Filth” and Bret Easton Ellis’ “American Psycho” because they seem like good examples, I guess.
I enjoyed this article on craft a lot. I'm feeling that the book I'm currently working on feels stagnant about half way through it. I think a rewrite with voice driven fiction will give it the Frankenstein spark it needs. thanks.
Congrats to Krissy and Andrew last night at Hindsight Story Night. Hopefully, we can all read their work when it gets published someday.
This is wonderful!
An aside; I love The Curious Incident of the Dog in the Night-Time. Saw the play adaptation on Broadway a few years ago. 😊
This is is so remarkable! Thank you so much for all these gifts Chuck!
And WOOHOO Krissy and Andrew!! I’m SO excited for you!!
It was fascinating to see the crowd's reaction to my story last night compared to the last one I read at Hindsight. Not just the laughs. But the visible level of engagement. Really cemented the importance of character over plot to me. Thanks again for putting on an amazing evening, Chuck! And for yet another lesson learned.
Just finished Dermaphoria by Clevenger. The voice is so hypnotic. Especially when he waxes about chemistry and proves his authority.
Chuck, If you ever read my stuff, please do me the favour of telling me if I cross the voice-driven threshold. But please, more importantly, tell me if I haven’t so that I may break my jaw and then reset it in the hope that the resulting voice may sound better.
“A Clockwork Orange” -- Real horrorshow book; you hang off the humble narrator’s every word.
George Saunders does a bunch of voice-driven short fiction. See quote below from his story, “Jon”
“And then nightfall would fall and our facility would fill with the sounds of quiet fast breathing from inside our Privacy Tarps as we all experimented per the techniques taught us in "It's Yours to Do With What You Like!" and what do you suspect, you had better make sure that that little gap between the main wall and the sliding wall that slides out to make your Gender Areas is like really really small. Which guess what, it wasn't.”
And that’s before the narrator’s scifi brain implant thing is removed and he can only speak in broken advertising copy.