Voice: An agent’s perspective
By Therese Walsh | January 19, 2010 |
Who better to explain how important Voice is in story than someone who not only sees a mountain range of submissions on a regular basis but has the opportunity to receive feedback on those submissions from editors? I asked my fabulous agent, Elisabeth Weed, if she’d be willing to step in today, say hello to the Writer Unboxed audience, and speak on this topic from her perspective. I’m thrilled that she agreed!
Elisabeth, welcome. The floor is yours.
—————
Voice: An agent’s perspective
Many thanks for including me in your discussion about Voice. Teri asked me to answer a few questions on the importance of Voice from an agent’s perspective: Is it THE thing that hooks you, or is it in the top five elements you must see in a partial to request more? Do you look for Voice in query letters, too? What’s an example of great Voice?
Since receiving Teri’s questions, I spent the last month (during which I requested 6 manuscripts from the slush pile) paying even closer attention to Voice and how important it is in making a decision to take something on. The simple answer is, voice is everything. If a voice doesn’t ring true, you don’t believe your narrator and you aren’t sucked into his or her world.
That said, of the six manuscripts I read, two had phenomenal voices but only one of them also had the page-turning/high concept story to go with it. I am now hoping to sign this novel up (and am in what we agents like to call a “beauty contest” with several other agents who had the same reaction.)
I was on the fence about the other novel, the one without the riveting story, because I knew that character so well, and while she was flawed, I wanted to continue along in her world. However, I had to put my agent hat securely on and soon enough the “voices” of editors rang in my ear, reminding me that without a compelling “big book” narrative, the novel wouldn’t find an audience. I should add that my tastes tend to lean toward the more commercial, which is to say, I’m partial to novels that I can tell you about while riding the elevator. Don’t judge me. :) There are plenty of agents who feel differently, which is why my pass letter to the second author was sincere when I told her she should absolutely reach out to others, and in fact I gave her some names of colleagues.
The other four books I requested had terrific high concepts. And in one case, the cover letter alone, written with a compelling voice, had me refreshing my in box waiting for the partial to arrive, imagining before I’d read a page which editor I’d submit to. Sadly, the voice didn’t translate to the novel’s pages and I ultimately passed. And without a great voice, the other three novels, despite the clever ideas, didn’t work for me.
I risk getting in trouble for this one, but if you haven’t read Therese’s novel, The Last Will of Moira Leahy, please read the first page–even the first paragraph, and if you aren’t immediately sucked in by her phenomenal voice then you should probably just give up reading books. :) [Note from Teri: I swear I didn’t put her up to that. But thanks, Elisabeth!] Since I don’t simply want to hawk my own books, other examples of great Voice are Gillian Flynn’s Dark Places (be prepared to be too scared to sleep!) and on a lighter note, Steve Hely’s How I Became a Famous Novelist, which will have you laughing out loud on your morning subway ride.
Thanks so much, Elisabeth, for being here today, and highlighting just how critical Voice can be for agents and, ultimately, in the marketplace.
Write on, all!
Photo courtesy Valentin.Ottone
Therese Walsh (she/her) co-founded Writer Unboxed in 2006 and is the site’s editorial director. She was the editor of WU’s only book, Author in Progress, and runs the Writer Unboxed UnConference.
Her second novel, The Moon Sisters, received starred reviews and was named one of the best books of the year by Library Journal and Book Riot.
Learn more about Therese on her website, and sign up for her newsletter to be among the first to hear about any new projects.
That’s very insightful, and thank you both for taking the time to share and post it! :) I think Voice can sometimes be one of the most crucial aspects of writing we struggle with – because most writers are also readers, we all have our influences and sometimes you catch yourself trying too hard to sound like someone else.
I remember reading a quote from Vonnegut where he commented that he was a kid from Indiana, and when he wrote like he was a kid from Indiana, that’s when he felt the most genuine, and that’s what readers responded to.
Also crucial to the writing process is coffee, without which I apparently can’t even type in the name of my own blog correctly.
.-= Judy´s last blog ..Vox Populi Vox Dei =-.
Wow! Voice is one of those ‘items’ I continue to explore and question. To hear from an agent what it is that compels them to request more and that sometimes the voice of the query (which garners requests) doesn’t come through in the novel makes perfect sense. Also good to know that even with a ‘voice’, if the story isn’t ‘big’, then it might result in a rejection.
You’ve given me lots to think about, Elizabeth. It’s always great to hear an industry professional’s opinion. Thanks.
.-= Janet´s last blog ..BIAW and Writing Sampler… =-.
I think it’s interesting that the voice from the query didn’t translate into the MSs, in some cases. I know there are a lot places for writers to get help with their queries, and this just shows that you still have to make sure the voice is true to YOU, the actual writer.
Great post!
.-= Melanie´s last blog ..Kelly Meding’s Three Days to Dead =-.
Excellent post…thanks Elisabeth and Therese…and excellent recommendations for finding voice…Last Will and Dark Places are two excellent books!
Thanks for this great post! It’s awesome to see into your process of requesting and weeding out manuscripts.
One thing I’m curious about… I feel like all this stress on voice is leading to a lot of 1st person narrations, and most of the examples of good voice (including the 3 you link to) are 1st person. There’s nothing wrong with that, but then what does good 3rd person voice look like? Is there anyone doing that right now? Just wondering…
(Also perhaps wondering because I’m often torn between 1st and 3rd person when writing, haha.)
.-= Kristan´s last blog ..Working and waiting for dreams =-.
I loved hearing an agent’s perspective on voice. I’ve been thinking a lot about it from this series of posts.
When I saw Tracy Chevalier (author of Girl With a Pearl Earring) speak last week, I was struck by her intense, quiet dignity. I realized that the voice in all of her books can be described that way, as well. Writing what you know doesn’t have to mean writing about gymnastics if you’re a gymnast–it means being true to yourself and your voice. That authenticity will come through and make a more effective story.
.-= Erika Robuck´s last blog ..Notes on a Reading: Tracy Chevalier =-.
Thanks, Teri, for this confirmation of my view of what works with agents (and editors). Also, Elizabeth is spot on regarding the voice of a certain author named Therese, mentioned above. It was a big part of what made the novel such a good read.
Kristan, I think Elisabeth will be by tomorrow to answer your question!
Thanks so much, Ray. :)
Kristan, I loved the book Monkeewrench by PJ Tracy, and this link will take you to a chunky excerpt of its opening pages (modern, third-person): https://www.bookbrowse.com/excerpts/index.cfm/book_number/1198/Monkeewrench Definitely one of the best mystery/suspense books I’ve read.
Maybe it’s just me, but it seems that all the writers with a voice-y book brandish a special type of courage. Picking a great story is hard enough, but choosing to be that original in word choice and sequencing… I think what this post says to me is the importance of sincerity.
Hi Kristan,
Good question re: examples of great third person voice. It was food for thought as the last few books I’ve read have been first person. However, I think Olive Kittridge is a perfect, brilliant, awe-inspiring example. I am also a huge fan of Amanda Ward who combines two parts third person and one part first person in her compelling novel, Sleep Toward Heaven. And on a lighter note, a favorite book of mine (and an easy read) is Barefoot by Elin Hilderbrand. She captures three very different women’s voices, all in third person.
Thanks, Therese & Elisabeth! I’ll definitely check those out. One of my favorite writing professors (and now friends) also recommended Olive Kittridge. :)
[…] but not least, The Last Will of Moira Leahy author Therese Walsh of Writer Unboxed asks her agent, Elisabeth Weed of Weed Literary, about voice—something not easily defined, yet something every agent […]