There’s a lot of chatter about “voice” in fiction, which I take to mean the presentation of the narrative, its mixture of tone, character, syntax, and vocabulary. Complex and important, writers can and do spend years perfecting voice though some come to it quickly and naturally. It can be very distinctive, as per Hemingway and Dickens. Perhaps the most influential voice in the English language was the sixteenth century King James translation of the Bible. And we sometimes forget that Shakespeare was a great inventor of words, such as gloomy, critic, bump—and many more. I wonder how Elizabethan audiences responded to such an inventive vocabulary.
I’ve never developed a specific voice for my work. I want the voice of my fiction to be part of the story. The voice of Crispin: The Cross of Lead is utterly different than the voice of City of Orphans or Poppy. In Sophia’s War I worked hard to create an eighteenth century voice, using lots of words used then, but no longer.
When I tell a story, I want the reader to hear, each time, a different voice. And not mine.