Posts Tagged ‘Tale Foundry’

The other day, one of the YouTube channels I follow, Tale Foundry,* asked a question on their social media about the difference between an author’s writing style and voice. Since I saw it first on their Twitter, I answered their question there. It went something like this over the course of two tweets:

Writing style is the technical part of writing: the author’s word choice, how thoughts are written out, etc. Voice is that and more: what sort of stories the author likes to tell, their favorite characters, the elements they like to include to make the story exciting.

That was my answer at the time, but I wanted to make sure it was right and I wasn’t just pulling stuff out of my ass like most politicians. So I went to Google and took a look. To my surprise, I was pretty on the dot. According to that lovely resource none of my teachers or professors liked us using even when they used it themselves, Wikipedia, writing style “is the manner of expressing thought in language characteristic of an individual, period, school, or nation. Thus, style is a term that may refer, at one and the same time, to both conventions that go beyond the individual writer and to singular aspects of individual writing.” And according to TheBalanceCareers.com,** voice is “the author’s style, the quality that makes his or her writing unique, and which conveys the author’s attitude, personality, and character.”

For example, let’s look at HP Lovecraft’s writing style and voice, as they’re both so distinctive.*** His writing style is easy to pin down: an overly-wordy and stuffy Victorian patois filled with fancy words. Yeah, he liked to pretend he was a contemporary of Edgar Allen Poe. I think in his later works he tried to modernize his style, but he never got over using too many words and too many fancy ones.

As for his voice, that’s also easy to pin down: stories centering around terrors that give no care for mankind. Secrets and sights terrible enough to cause insanity. Entities so powerful they see humanity as nothing more than ants in the grand scheme of things. All with an unhealthy helping of xenophobia, racism, fear of women, fear of sex, fear of technology and progress, inability to grasp many sciences and maths, and an obsession with sophisticated upbringing and breeding.

Yeah, dude had his issues, and this was before getting help for your problems was effective and smiled upon by society. On the plus side, it had a lasting influence on the horror genre that’s still felt today. And the combination of the two makes it easy to point out an HP Lovecraft story when you come across one, even if his name is obscured.

As for my own style and voice, they’re still evolving. But I’ve noticed a few things for each. I prefer to write my characters blunt with their feelings, possibly because I have enough trouble understanding real humans and their confusing mix of emotions. And I love writing stories with unlikely heroines or nice-guy heroes, usually but not always in the their teens, supernatural enemies and horrors, plenty of either realistic or twisted love and romance, and more than a dash of weird to make it fun.

I think there are people out there who like that sort of thing. Not all of them are close relatives. I hope.

Writing style and voice are both very important aspects of writing, both for the writer using them and for the audience reading their work. It’s how we come to know the storytellers, how we identify them just from looking at a page, and it’s what allows them to stay relevant and immersive long after they’ve stopped typing on keyboards or holding pens.

That’s all for now, my Followers of Fear. I’ll have a review out this weekend, so if nothing else comes up in the meantime, I’ll see you then. Until then, pleasant nightmares!

Have you noticed anything about your writing style or voice? What about your favorite authors?

*Which you should check out if you’re interested in stories and looking past the surface to the mechanics and deeper meaning of storytelling, by the way. Here’s the link to their YouTube channel.

**They also mention voice can refer to a character or narrator’s voice. But since I think Tale Foundry was referring to the author’s voice, I’ll stick with that one.

***Speaking of which, yesterday was the 91st anniversary of the publication of The Call of Cthulhu, the first appearance of the titular character and the namesake of the Mythos. Happy Birthday, Cthulhu. May you someday rise out of the sea to irrevocably change the world (preferably before the 2020 election becomes super depressing/annoying).

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One of the YouTube channels I follow is Tale Foundry, a channel that breaks down how different genres and mechanics of storytelling work and then uses the lessons gleaned to write original short stories. They present themselves as robots in a foundry that works with fiction rather than metal (hence the name Tale Foundry). Their latest series of videos has been around worldbuilding in fiction, and their latest video, which I’ve embedded below, really got me thinking.

Now, if you didn’t watch the video for whatever reason, let me just quickly talk about one of the methods of worldbuilding they discussed: found design, which to put very simply is when you modify an aspect of the world in order to accommodate or address an issue (or “emergent concern,” as they call it in the video) that’s come up in the course of telling the story. An example would be if while writing your novel about a war between werewolves and humans who hunt them, your beta reader says that the conflict has been done before and that something needs to be added to make the story more interesting (other than a forbidden romance). The something required to spice up the story is the issue or emergent concern, and the integration of whatever you decide to add to the story (a threat to both armies, an original twist to lycanthropy, etc) is the act of found design worldbuilding.

Yeah, it’s a lot to absorb, but whoever said fiction writing was simple?

Anyway, this last method got me thinking, because that’s the method a lot of horror writers use while writing their own stories. As we all know, horror stories are more often than not set in our world, but with modifications to allow for the fantastical things that show up in it. Modifications to allow for something new to be added to the story and its world…sound familiar?

I call this the “build upon” worldbuilding method (if there’s an official name in academic circles, someone please let me know). You take an already-established world, one that many people would already be very familiar with, and add your own twists or details to it so you can tell the story you wish to tell. This is a method used by fanfic writers, anyone dealing with Arthurian lore, and of course, horror writers.

A good example of how this method works is with my own short story, “Car Chasers” (being released in late 2018/early 2019 in The Binge-Watching Cure II anthology from Claren Books). This story is set in a world similar to ours, except ghosts are capable of participating in illegal street races in this story. When I wanted to write that story, I had to not just modify the world so that it was capable of having ghosts (though if you ask me, our world has always had ghosts in it), but I had to add rules to these ghosts, how they interacted with the races/racers and under what conditions they participated in these races. Will all this be evident when the story is finally released? You’ll have to read it to find out, but whether or not it is evident, all that work in designing this world was necessary for it to be written, let alone accepted anywhere for publication.

So as you can see, it’s a handy method to build a world for your story. And if you’re into creating a shared universe across your stories, like Stephen King, HP Lovecraft, or I do, it’s pretty helpful in making that possible. All you need to do is make a slight tweak and you can find ways to connect your various stories together into a fantastic and varied world.

Of course, this isn’t the only method for building a world in horror. But this is the one that I use the most in my stories, and which I’m sure plenty of other horror authors use when they make their stories and their worlds. And it’s not hard to see why: it’s a wonderfully flexible tool for any storyteller, and helps in the act of storytelling every day.

Thanks to Tale Foundry for giving me the idea to write this post, and as always, I’m looking forward to your next video. And I encourage you folks to check out their stuff. From Lovecraft and Junji Ito to Celtic mythology and satire, you’ll find plenty of videos exploring the various aspects of storytelling and how they can be applied.

That’s all for now. I’m off to work a little bit on that novella again. In the meantime, what are your thoughts on worldbuilding in your genre? Any methods that you find helpful? Let’s discuss.

Until next time, pleasant nightmares!