| Jesus wept. (Pow, zap, bang, zoom! Singe/first base) Jesus wept, and others watched. (rings different bell in compound –double sentence) In his sixteenth year on the planet, Jesus wept. (complex as it add a fragment(ary) Jesus, in his sixteenth year on the planet, wept introduction or interrupting fragment(ary) and we rings another kinda bell in the head) Now the homer of a sentence, the big boy: Compound Complex…. In his sixteenth year, Jesus wept, while from afar, others curiously watched. (intro. Frag) S + V (intro. Frag) S + V |
| Each choice we make, as in each choice ONE makes, as in difference between the chummy we as opposed to the formal one goes into the building blocks of the stone wall we can call our Voice for this story or this novel. Every little choice becomes a major decision, and it is for this reason many people can not write worth a flip because why, Fred? Yes, a lotta lotta people don’t do well in decision-making and writing is really about making a thousand decisions per paragraph. Some stories beg to be told in a formal voice in a particular setting with specific characters, while others demand an informal voice in an entirely different setting with a host of other goals. Not all your stories need take on the same voice, but within that single story or novel, your ONE consistent is that you be consistent and true to the voice you choose. In multiple viewpoint novels as I do, each HEAD you speak from, each HEAD you get into and SENSE and SEE from has its own internal/infernal logic and consistent mindset and so VOICE is the most important element of your story….. * * * Robert W. Walker’s website is chock full with advice and examples. Visit for the fun of it or for the lessons to be had at www.RobertWWalker.com |
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| The Single Most Important ... Conclusion |
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