How to Find Your Voice: Steal It From Annie Dillard

Steven Pressfield says he can’t read authors with strong voices anymore (he cites Philip Roth) because they rub off on him. That’s fine for Steve, but for us fledgling writers, those voices are like calcium supplements. They make our bones strong.

Lately, I’ve been reading Annie Dillard’s The Writing Life. This is a problem because Annie Dillard has a unique and beautiful voice, and without meaning to, I stole it. I’m slightly embarrassed about it, so keep it on the DL.

Hemingway’s Brush Strokes

When my English Literature professor, Marilyn McEntyre, told us Hemingway would write all day in small Parisian cafes and, afterward, take his lunch to the Musee du Luxembourg where he would look at Cezannes, it transformed how I looked at authors—and writing, for that matter—forever.

A Critical DON’T for Writing Dialogue

Elmore Leonard said, Never use any word other than “said” for dialogue. Why? Try reading the above out loud. The “he exclaimed” and “he admonished” and “she cried” become like a child saying your name over and over. Distracting.

The word “said,” though, is easily ignored. You want the attention focused on the dialogue, not your clever use of verbs. In many cases, it’s good to change up word choice. You don’t want to use “quintessential” or “luminescence” too many times. “Said” is a major exception. Let us tune it out. Please.

Going On a Date With Your Shadow

I closed my eyes, and what I saw made me cringe.

A little kid, maybe ten or eleven, sat against a wall watching some other kids his age doing tricks on their skateboards. He wore short red shorts and roller blades on his feet. When he got up to skate around the black top, the other kids pointed and nudged each other, laughing at him. Their shorts were baggy. He nearly tripped and fell several times. Embarrassed, he sat back down to watch.

I opened my eyes, shuddering.

The little kid was me.