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On Voice

6/25/2014

For me, a writer's voice has always been the single thing that differentiates a story or novel for me. You can tease out or develop a story, but you can't create an author's voice where only a story exists, IMO. As a managing editor and reader (both personally and professionally), I am very aural in my response. Can I hear this author and his/her singularity when I read? I always read my own stories into a microphone--and am often astonished at what I hear back. Sometimes I'm delighted, other times I'm horrified at the obvious errors or pat quality of my words.

This notion was seconded in an interview with Amy Einhorn of Penguin Random House, in the March/April issue of Poets & Writers magazine. She says: "I think I would choose voice over story, if I had to. That is not necessarily a good thing, but I'm a sucker for a really strong voice. ... I can help somebody with the story, but I can't create a voice. I can't teach that, and I can't fix that."

Do you agree?

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A Short Ode to the Short (Story)

6/4/2014

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My favorite form of writing, and reading, is the short story or short essay. Unfortunately, novels are essentially what writers aspire to, and what readers refer to when they list off what they like to, or favorite, reads. But my early favorite stories were short: John Steinbeck’s The Red Pony, Saki’s The Open Window, Somerset Maugham’s Red, O. Henry’s The Gift of the Magi. Short stories are the amuse bouche of reading. I’ve always liked reading this way—in a powerful bite rather than an extended meal. My mother gave me a collection of classic adult short stories when I was thirteen, which I read in its entirety; I still have the volume on my bookcase shelf.

With the short story form, a writer generally must sustain momentum and use language exceedingly well. Unlike a novel where the writer has the luxury of space to unveil a plot and develop characters, in a short form, a writer needs to hit hard quickly, blow a character out through actions, and reveal her/his writer’s “voice” in a limited area. It’s like having to stand out in a skit, rather than a movie.

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Pamela Langley

In the past decade I have written memoirs for a nun, tutored children from Somalia, edited a college literary magazine, interned at Literary Arts in Portland, published a few stories, graduated from University with highest honors, given a speech to a packed house at the Schnitz, remodeled a fixer-upper, written grants for programs that helped, extended my emotional /intellectual horizons, made an intra-state move, started a business, regained my groove, placed my finger back on the pulse, joined Facebook, Pinterest and LinkedIn, bought a smartphone, traveled, raised puppies, and most importantly--honed my writing skills. I bare myself here on The Paper Garden and hope some moments will resonate with you.

On Voice

A Short Ode to the Short (Story)

Pamela Langley

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