(“Talking Shop” is an ongoing series on the craft of creative writing.)
I’ve talked a little about David Shields’ seminal book Reality Hunger in a past post. Today I want to respond to another quotation from that same book. Here’s a statement quoted in his chapter about flash fiction:
“Even as they’re exploring extremely serious and complex material, short-short writers frequently use a certain mock modesty to give the work a tossed-off tone and disarm the reader. The reader thinks he’s reading a diary entry, when in fact it’s a lyric essay or prose poem.”
Shields goes on to cite examples, one of which being “Morning News” by Jerome Stern
Although I certainly agree with Shields that this “mock modesty” is common in flash fiction, I’m unsure that it’s fair to say that microfiction utilizes this technique across the board.
This does, however, bring up the topic of tone in flash fiction. As writers, we have to ensure we don’t confuse our tone with our literary voice. One of the best ways to ensure we don’t confuse the two is by having a proper definition of each term.
Tone is the writer’s attitude toward his subject, his audience or himself. One can have a sarcastic tone. One can be flippant or somber or self-reflecting or abrasive. All of these are examples of a writer’s tone in a particular piece.
Literary voice, on the other hand, is the distinctive style a writer has. Hemingway was known for his concise style. It made him have a distinct voice. Douglas Adams is known for his humorous approach to science fiction. F. Scott Fitzgerald is known for his flowery prose.
So how can we confuse tone and literary voice? Well, left unchecked, our stories can all share the same tone, and run the risk of becoming formulaic. For example, I love using irony in my microfictions. But If I’m not careful, I will use it in all my stories, and pretty soon they’ll all read in a very predictable manner.
Have you ever enjoyed the first track of an album, only to find that each subsequent song sounded exactly the same? As writers, we have to ensure we vary our tone from piece to piece while maintaining our distinct voice.
How do you find this at play in your writing? Do you gravitate toward a certain tone in your work? If so, how do you avoid falling into a rut? What makes your literary voice distinctly you?