What is this thing – the writer's ‘voice'?

My view is that it's a lousy term for a vital element in authorship.

WriteAway members are too long in the tooth to be taught to write – thank goodness. But the occasional tweak from those in the know can often turn turgid prose into attractive copy. Why? How?

Sticking with voices, a mother adapts her speech patterns when dealing with, say, her baby, her butcher and her postman. In each case she has, we hope, a different relationship. Now imagine what would happen if the mother were to address the postman as the baby, the butcher as the postman, and the baby as the butcher. On reflection, perhaps they would all relish the moment.

Back to earth. One or two writers in a million appear to find the perfect voice with their first major work. Who is to know, however, whether even these rare beasts were not first nudged and cosseted by an astute editor.

John le Carre and Dick Francis ‘speak' on the page as no others do. Their vocabulary and its deployment could not be more different. At their best, both are commercial while at the same time faithful to their natural ability and manner of approaching life and yes, speaking and writing.

How can you as a new writer best find a voice that suits their personality? By trial and error – and a ruthless ability to self-criticise.

At WriteAway we have few axes to grind, but our experienced writers can shed light on other members' style and its appropriateness in specific circumstances. That's one of the benefits of being inside the WriteAway tent looking out.