voice of an essay definition

• Literary Terms
• Definition & Examples
• When & How to Develop a Voice

I. What is Voice?

In literature, the voice expresses the narrator or author’s emotions, attitude, tone and point of view through artful, well thought out use of word choice and diction. A voice may be formal or informal; serious or lighthearted; positive or negative; persuasive or argumentative; comical or depressed; witty or straightforward; objective or subjective—truly, voice can reflect any and all feelings and perspectives. A work’s voice directly contributes to its tone and mood; helping the writer create the desired effect he wants his words to have on readers.

A piece of literature’s voice is one of its most defining and important features and can completely change the way a story is read and received. For example, you could tell the same story in two ways; on version through a very positive narrator, and the other through a very negative narrator, and the results would be very, very different. Likewise, you could have two different authors or narrators addressing the same subject—the voice will vary depending on their feelings about that subject, which will in turn affect the way it is presented.

Last, it’s important to distinguish between literary voice as described above, and the sound of someone’s physical voice. The sound of someone’s voice is just a physical characteristic, whereas a literary voice is a part of writing and storytelling.

II. Examples of Voice

Here are some examples of greetings from different voices:

• Good day, m’lady
• Good day, madame
• Greetings, sir
• What’s up, dude?
• Hello there
• ‘Ello gov’na
• G’day, mate

Each greeting has the same basic meaning but is expressed in a completely different voice. Several factors contribute to each voice—for example, some are formal while some are informal; some show an accent; some use slang; and some even use different languages.

Now, read these two sentences:

The sun is a glorious glowing orb of golden heat and light, giving life to everything it touches. *** The sun is a flaming ball of fire and blinding light, burning anything that’s under its rays for too long.

The voice of the first sentence is pleasant and appreciative, expressing that the sun is a wonderful thing. The second’s voice carries the opposite attitude; expressing that the sun is harsh and damaging. The two distinct voices can influence how we perceive the sun.

III. Types of Voice

Voice is determined by either the person telling the story (the narrator) or the person writing the story (the author), and can be further defined by the voices of characters in a story. Basically, it’s important to remember that a work’s voice is not always reflective of the author’s own opinions or attitudes.

a. Narrator’s voice

The narrator’s voice expresses the attitude of the person who is actually directly telling us the story. It is partially determined by the narrator’s role in the story ( narrative style)—whether the narrator is part of the story or telling it from an outside perspective obviously affects his attitude and the way he’ll express himself. For instance, a first person narrator (a character in the story narrating from their point of view, using I, me and we ) may be more invested in what happens than a third objective person narrator (a narrator who is not a character in the story and doesn’t have a stake in what’s happening). But from whatever point of view, the narrator is the one who readers hear the story from, and so his voice is what influences the entire way readers experience the work.

b. Author’s voice

The author’s voice directly reflects the attitude of the author himself. Even when a work has a narrator, an author’s voice can certainly come through. That said, an author’s voice tends to be most prominent in nonfiction, where a writer is often directly expressing his own knowledge and opinion. News sources provide great examples of authors’ voices—though the news should really be neutral, it often clearly shows the voice of the network or the writer. For instance, many would say that Fox News has a conservative voice and that CBS has a more liberal voice.

c. Character Voices

An author may also choose to show the voices of characters in addition to the voice of a third person narrator, or the narrator may be a character within the story. So, with this technique, readers are able to understand the attitudes of those who are direct part of the story. Sometimes, an author may tell a story from the perspectives of several characters, using multiple voices that approach the same events with different attitudes.

IV. Importance of Voice

As mentioned above, the voice is an essential part of the way a story or piece of writing is delivered. Works of literature need voices to help them stand out in style and deliver stories and content in the most effective way possible.

V. Examples of Voice in Literature

In Susanna Kaysen’s memoir Girl, Interrupted we get to experience a story from a very unique perspective—that of the author, who is actually writing about her time as a patient in psychiatric hospital. The voice of the story is unique in that it reflects the author’s attitude about the events, but the author is also the real-life protagonist of the story. Here, Susanna recounts her appointment with a psychiatrist:

“You need a rest,” he announced. I did need a rest, particularly since I’d gotten up so early that morning in order to see this doctor, who lived out in the suburbs. I’d changed trains twice. And I would have to retrace my steps to get to my job. Just thinking of it made me tired. “Don’t you think?” He was still standing in front of me. “Don’t you think you need a rest?”

Here, Susanna’s voice is almost misleading to the audience—in fact, she is expressing that she thinks she needs a rest because she had a long morning. But knowing it is a psychiatrist asking her, we know that Susanna is having psychological issues, and that the rest he speaks of is actually a rest in a psychiatric facility.

One of the kookiest voices in literature comes from Dr. Seuss, known for his unruly rhyme patterns, made up words and overall silly voice. In his beloved classic The Cat in the Hat, Doctor Seuss tells his story with three voices—the children, the fish, and the Cat in the Hat. Here are two stanzas , one showing the fish’s voice, one showing the Cat’s:

our fish said, ‘no! no! make that cat go away! tell that cat in the hat you do NOT want to play. he should not be here. he should not be about. he should not be here when your mother is out!’   ‘now! now!  have no fear. have no fear!’ said the cat. ‘my tricks are not bad,’ said the cat in the hat. ‘why, we can have lots of good fun, if you wish, with a game that i call up-up-up with a fish!’

On top of the author’s overall whimsical voice, we get to hear from two of the characters, who though speaking to the same issue, are very different and express opposite attitudes. The first voice is that of the fish, who is stern and serious, warning the children that they should not play with the Cat; the second is that of the Cat; lighthearted and dismissive, telling everyone not to worry and that they should definitely play with him. Dr Seuss uses these two distinct voices to help show the difficult situation the kids are in—one voice says play, the other says don’t!

VI. Examples in Pop Culture

In the 2015 film Room , a mother and her five year old child are prisoners inside their captor’s shed. Ma, the mother, has been there for seven years, while Jack, her son, has never left ‘Room’—Ma has taught Jack that Room is the whole world, and there’s nothing outside of it. Throughout the film, we get to hear some of Jack’s explanations about life in Room:

Here, you can see Ma depressed in bed while hearing Jack speak about room. His voice (his literary voice, not the literal sound of his voice) reflects his surprisingly positive perspective on the world. Through Jack’s commentary we understand how Ma has been able to endure this terrible situation—Jack doesn’t know any other home, and sees the best in Room. Jack sees the good in the things where we might see problems, like a bent spoon and a toilet in the centre of a home. His innocent voice is what makes the film slightly less painful.

George R.R. Martin is well known for storytelling through multiple characters and voices in his novels, and the same goes when he adapts the stories for the TV series Game of Thrones. Voice can be harder to express on screen, but Game of Thrones still finds a way to replicate what Martin does on the page. For instance, this clip shows us the voices of several groups of characters during a tragic event:

Through different perspectives during these infamous events of the Red Wedding, we experience the voice of vengeance from Lord Frey (who leads the massacre), the voice of desperation from the Starks as they are killed one by one (the current victims), the voices of arrogance from the knights who kill the wolf, and the voice of hopelessness from Arya (who sees what’s happening from the outside), and the voice of reason from the Hound (who takes Arya away).

VII. Conclusion

In the end, it’s always important to think about the voice of your writing. It determines so much of how a story works, from the way it is told to how the reader understands and feels about the characters and events. The voice is what determines a work’s mood and tone, and ultimately what distinguishes one story or piece of writing from the next!

VIII. Related Terms

A narrator is the person telling the story. In literature, the voice is not the narrator himself, but rather every narrator has a voice.

The mood of a story is the overall feeling that it gives off to its readers. A story’s voice helps contribute to its mood.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

Definition of Voice

A voice in literature is the form or a format through which narrators tell their stories. It is prominent when a writer places himself herself into words, and provides a sense that the character is real person, conveying a specific message the writer intends to convey. In simple words, it is an author’s individual writing style or point of view .

When a writer engages personally with a topic, he imparts his personality to that piece of literature. This individual personality is different from other individual personalities, which other writers put into their own works. Thus, voice is a unique personality of a literary work. Depending upon the type of work, authors may use a single voice, or multiple voices.

Types of Voice

Though there are many types of voice, two are most commonly used:

• Author’s Voice – Author’s voice is the writer’s particular style, which he employs in a particular story , or piece of writing.
• Character ’s Voice – A character’s voice is the voice of the main character, how he views the world. It is a common narrative voice used with first and third person points of view. Here, the author uses a conscious person as a narrator in the story.

Examples of Voice in Literature

Example #1: various works (by multiple authors).

Stream of Consciousness Voice

Stream of Consciousness is a narrative voice that comprises the thought processes of the characters. James Joyce ’s novel , Ulysses , and William Faulkner ’s novels, As I Lay Dying , and The Sound and Fury , are modes of stream of consciousness narrative.

Example #2: To Kill a Mockingbird (By Harper Lee)

Character Voice

harper lee ’s To Kill a Mockingbird is a very good example of a character’s voice, in which the character Scout narrates the whole story. Though she is an adult, she tells her story from her childhood’s point of view. When she grows older, her language becomes more sophisticated. Scout uses first‑person narrative to create a realistic sense, enabling the audience to notice the child is growing up. Her dialogue allows readers to hear the language of younger Scout. Also, it enables the readers to feel the voice of an adult in her actions and thinking.

Example #3: The Tell-Tale Heart (By Edgar Allan Poe)

Unreliable Voice

Edgar Allan Poe ’s short story The Tell-Tale Heart is an example of first‑person unreliable narrative voice, which is significantly unknowledgeable, biased, childish, and ignorant, which purposefully tries to deceive the readers. As the story proceeds, readers notice the voice is unusual, characterized by starts and stops. The character directly talks to the readers, showing a highly exaggerated and wrought style. It is obvious that the effectiveness of this story relies on its style, voice, and structure, which reveal the diseased state of mind of the narrator.

Example #4: Frankenstein (By Mary Shelley)

Epistolary Voice

Epistolary narrative voice makes use of letters and documents to convey the message and reveal the story. It may use multiple persons’ voices, or there could be no narrator at all, as the author may have gathered different documents into a single place to shape the story. For instance, Mary Shelley , in her novel Frankenstein , employs epistolary form, in which she uses a sequence of letters to express the voice of her narrator – a scientific explorer, Captain Robert Walton. He attempts to reach the North Pole, where he meets Victor Frankenstein , and then records his experiences and confessions.

Example #5: Old Man and the Sea (By George R. R. Martin)

Third-person, Subjective Voice

Third person narrative voice employs a third‑person point of view. In a third‑person subjective voice, a narrator describes feelings, thoughts, and opinions of one or more characters. Hemingway’s novel Old Man and the Sea , and George R. R. Martin’s fantasy novel A Song of Ice and Fire, present examples of third person subjective voice.

Example #6: Hills Like White Elephants (By Ernest Hemingway)

Third-person Objective Voice

In a third person objective voice, a narrator narrates the story without showing the character’s feelings and thoughts, and gives unbiased and objective points of view. A typical example of this voice is Ernest Hemingway ’s Hills Like White Elephants .

Function of Voice

While identifying the function of voice in literature, it is necessary to consider the narrator’s degree of objectivity, reliability, and omniscience. Voice shows whose eyes readers see the narrative through, which gives a personality to a literary piece. Moreover, a strong voice helps make every word count, sets up consistency, and most importantly grabs the attention of the readers.

Related posts:

• Active Voice
• Passive Voice
• Lift Every Voice and Sing

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Table of Contents

What Is Voice in Writing?

• How Do I Find My Writer's Voice?
• How to Develop Your Writer's Voice

Writing Voice: What it Means & How to Find Yours

When you talk to someone, do you have to “find your voice?”

Of course not. You just talk.

Your voice isn’t something you “find.” It’s not hiding between the couch cushions or under the bed. It’s already there, inside of you and a part of you.

So why do so many writers talk about “finding” their voice like it’s a complicated thing?

Because they’re trying to look fancy and sophisticated. The fact is, it isn’t complicated. Elitist writers just want you to think it is.

Every Author has a unique voice, and you don’t have to do anything special to find it.

In this post, I’ll provide a definition of voice and debunk the myth that “finding your voice” is hard. Most importantly, I’ll show you exactly how to do it.

In writing, “voice” is how you speak and think. It’s all about the words you use and the patterns in your writing.

Do you use a lot of rhetorical questions? Long or short sentences? Slang?

Those are all ways your voice might come through in your writing.

Let’s look at a few examples of voice.

Tiffany Haddish is a comedian who grew up in one of the poorest neighborhoods of South Central Los Angeles. She’s made a living off making people laugh, without pulling any punches.

Here’s the opening of her book, The Last Black Unicorn :

When you read this, you can practically hear Tiffany talking. It’s like having a conversation with her. Her voice comes through loud and clear.

She uses humor. She’s candid, and she doesn’t always stick to formal, proper grammar.

Here’s another, very different example.

This is the opening to Can’t Hurt Me by David Goggins, a U.S. Armed Forces icon:

David’s voice is totally different from Tiffany’s. But it still feels like you’re having a conversation with him. It feels authentic.

His tone is more serious, but it’s still friendly. His sentences are short and direct (except for that last sentence, where he uses repetition to make a point). David’s writing is emphatic, and it makes you want to keep reading.

That’s the power of an Author’s voice.

It’s completely and totally theirs.

It’s real.

It’s powerful.

To be clear, your “voice” is different from your writing style .

Your voice is about how you communicate. In any conversation, on any given day, you’re using your natural voice.

Style is about how you approach the reader. It’s either geared toward persuading the reader, explaining something to the reader, telling the reader a story, or describing something to the reader.

No matter what your style is, you’ll have a consistent voice that shines through.

How Do I Find My Writer’s Voice?

You don’t.

People with literature degrees want you to believe that your writer’s voice is something you have to work really hard on. They’ll tell you it’s something you have to develop over time as part of your craft.

That’s not true. Your voice is already part of who you are.

So, if it’s already part of you, why is it hard to find?

It’s not.

Believe it or not, you don’t have to find your Author’s voice. It’s your own voice.

You already have a unique way of speaking/thinking/talking. That’s your writer’s voice. It’s the same thing.

You’re probably just getting in your own way because you’re not used to writing—and because you’ve bought into the belief that writing is “high art.”

It isn’t. Or at least it shouldn’t be.

Writing is about communicating ideas, not showing off.

You communicate every day. Trust yourself, and get out of your own way.

How to Develop Your Writer’s Voice

Your voice is already part of you, but if you’re like most people, you’re probably more comfortable speaking in your voice than writing in it.

If you find yourself in this camp, there are 6 things you can do to get yourself back on track.

To be clear, these aren’t tips for “finding your voice.” They’re tips for remembering you already have one.

1. Stop Trying to Sound Like Someone Else

One of the biggest writing mistakes is when people try to emulate someone else’s writing.

Don’t do this.

I don’t care how great a writer they are or how much you like their book. You’re not them. You’re you.

You have to be yourself because that’s who readers want to engage with. They picked up your book because they thought you could help them solve their problems . If they thought someone else could do it better, they would have bought their book instead.

Give readers what they want: your knowledge, in your words. If you speak to them clearly, honestly, and authentically, you’ll have a strong voice.

Chances are, you like the Authors you like because they stayed true to themselves. They stand out because they’ve let their authentic voice come through in their writing.

There’s nothing authentic about a copycat. And it only takes readers a minute to catch on when someone isn’t being real with them.

If you want to publish a good book , stop trying to live up to other good books. Instead, live up to yourself.

Let your unique point of view come through.

2. Stop Trying to Sound Smart

This is a subset of the first problem, but I’m highlighting it here because it’s something I see all the time .

Authors often try to use fancy words or complicated sentence structure because they think that’s how writing is “supposed” to sound.

Or, they think they have to “sound smart” for readers to perceive them as smart.

I don’t care how smart you are. No one wants to read complicated, dense writing. It doesn’t make you sound smart. It makes you sound unrelatable.

I blame English professors—and textbooks, most of which are horrible.​They make people think they have to have some fancy literary voice if they want to be taken seriously.

But be honest. When’s the last time you’ve picked up a book in your spare time and said, “I really want something I have to slog through?”

So don’t make readers slog through your book. They won’t do it.

Complicated words won’t make you sound more authoritative.

Know what will? Good information, delivered clearly and plainly.

Keep your word choice simple and skip the “authorial voice” you think you “should” have.

People appreciate straight shooters more than they appreciate faux-intellectualism or headaches.

3. Stop Worrying About Grammar

The best way to write is the way you talk. And the way you talk won’t always be grammatically correct.

That’s fine.

Stop worrying about grammar, especially when you’re writing your first draft. In reality, grammar rules aren’t rules. They’re suggestions.

Grammar rules are arbitrary conventions that people agree on. Except there is no set of people who are in charge and no formal agreements. That’s why there are so many different grammar books out there.

There are only 2 reasons that grammar even matters in writing:

• It makes communication easier
• People expect good grammar (which is why it makes communication easier)

You want your book to look professional, but more importantly, you want your book to connect with readers.

People respond to people—not rules, and not grammar.

When you write the way you speak, people will connect with it.

Maybe that means using sentence fragments. Like this. Or maybe it means starting a sentence with a conjunction.

Maybe it means being colloquial. Did you notice that Tiffany Haddish said, “I look back over my life and I’m like, ‘For real, that happened?'”

Most grammar books would never encourage you to use “I’m like” as a stand-in for “I said.” But it sounds like Tiffany, and it makes her far more relatable.

Everyone has their own unique way of speaking. You should also embrace your own unique way of writing. It’s okay to break the rules.

Of course, you want your book to look professional, but you can always fix spelling and punctuation mistakes down the line.

Once you’re done writing, hand the manuscript over to a good editor , copyeditor , and/or proofreader . But even then, take their suggestions with a grain of salt.

The most important thing is to preserve your narrative voice and make a connection with the reader.

4. Stop Editing Yourself

I’ll take my earlier advice one step further: don’t just stop worrying about grammar. Stop worrying about how you sound at all.

Just get your ideas down on paper. Your first draft doesn’t have to be perfect. In fact, it won’t be.

Give yourself permission to write a mediocre first draft. Hell, give yourself permission to write a terrible first draft.

I always advise Authors to write what we call a “ vomit draft .” Spew your thoughts onto paper and stop worrying about whether they sound good.

Just get it all out. Get every thought that’s in your head onto the paper.

Like vomiting, it’s not going to be pretty. But it will be real. It will encapsulate your writing voice.

The more you agonize over putting your thoughts on paper, the less natural they’re going to sound. You’ll question your natural flow of thoughts, and you’ll probably edit out all the tics that make your voice sound like you.

Plus, it’s a lot easier to fix a second draft than it is to write a “perfect” first one.

Think of your vomit draft as a starting place that helps you drill down to the essence of your voice.

Here are 2 frames that might help you channel your own voice in the vomit draft:

• Imagine that you’re having a conversation with a friend. It takes the pressure off, guarantees that you’ll be more natural, and ensures that you’re thinking about what the other person is learning and taking in.
• Imagine you’re helping a stranger heal the same pain you had. This helps you focus on actionable advice and helps you stay focused on your reader.

Want to really ace this “writing voice” thing?

Envision yourself helping a friend through something difficult you’ve already figured out.

Why does this work? Because your mind won’t be on your voice at all. It will be focused on helping someone you care about.

Your voice will emerge organically.

5. Write Like You’re Not Finished

I just said that your vomit draft will probably be terrible. But in another sense, your vomit draft will be great . ​

That’s because it’s exactly what it needs to be: a draft.

Many successful people are perfectionists . They desperately want things to be “right,” and they have high expectations for themselves. When they write, they want every word to be spot-on.

Now, imagine if you put that much pressure on yourself every time you opened your mouth.

What would happen if every word you spoke had to be perfect ?

You’d never say anything.

You can’t have a natural voice—or a voice at all—if you’re hung up on perfectionism.

Every great book starts out as a bad book, or at least a mediocre book. I promise. That’s because writing a book is a long process. You can’t treat it like a one-and-done thing.

A book starts with a rough draft—emphasis on “rough.” Then, over time, it gets better. And better. And better.

I can’t tell you how many Authors I’ve seen who get discouraged at the beginning of the writing process. They let their fear get in the way, and they get stuck. They worry that their books won’t be “good enough” or that people won’t care.

Many of them give up.

It’s important to keep perspective. This is a process. Your voice will develop over successive drafts. It doesn’t have to be perfect right out of the gate.

Ernest Hemingway had one of the most distinctive voices in literature, and he was an obsessive editor. He was never content with his early drafts.

Stop trying to write like you’re writing a finished book. You’re not. You’re writing a draft. When you embrace that and loosen up, your writing voice will sound much more natural.

6. Talk It Out Instead of Writing It Down

An Author’s voice is called a “voice” for a reason. It’s directly related to how a person speaks and communicates.

One thing that makes tapping into your own voice so hard is that it’s hard to type as fast as you speak.

When you’re sitting at a keyboard, your ideas often outpace your ability to get them down. That interrupts your flow and makes the entire writing process feel stilted and awkward.

If you’re having trouble keeping up, stop trying to write. Talk it out instead.

After all, who said you had to write your book? You can speak it just as easily.

I recommend dictating your book and sending the recording to a transcription service .

With roughly 10 hours of talking and a few minutes of file conversion time, you’ll have a workable vomit draft.

Better yet, you’ll have a workable vomit draft in your own voice . Literally.

If you struggle with the idea of dictating that much content, go back to the 2 frames I suggested above. Instead of imagining talking to a friend, actually do it.

Have a conversation with someone else about your book’s subject, and use that conversation as your guide for your rough draft.

We’ve all heard of writer’s block , but there’s no such thing as speaker’s block. There’s a good reason for that.

It’s easy to talk to a friend. You don’t worry about sounding smart or needing to find your voice. You just speak, and your voice emerges naturally.

Don’t make writing a book more complicated than it has to be. When in doubt, let your actual voice do the “writing” for you.

The Scribe Crew

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Understanding the Definition of Voice: A Comprehensive Guide

What is voice in writing, how to identify voice in writing, why voice matters in writing, how to develop your writing voice, tips for achieving consistency in voice, the role of voice in different genres of writing, examples of strong voice in literature, how to adapt your voice for different audiences.

When you dive into the world of writing, one term that often pops up is "voice". But what does that mean? Let's break down the definition of voice in a simple, relatable, and comprehensive way, just like having a chat with a friend in your favorite coffee shop. Whether you're an aspiring author, a student trying to master your school assignments, or just someone curious about the intricacies of the written word, this guide will help you understand and appreciate the concept of voice in writing.

Imagine you're reading two different books: say, one of the Harry Potter novels and a report on global climate change. Even if the information is the same, you can quickly tell the difference between the two, right? The way the words are put together, the tone, the style—everything feels different. Well, that's what we call the "voice" in writing.

Here's the definition of voice in writing: It's like the unique fingerprint of a writer. It's the way a writer expresses ideas. It's not about what you say, but how you say it. It's your style, your personality, shining through the words you choose, the way you structure your sentences, and even the rhythm and pace of your writing.

If you're still a bit confused, don't worry. Here's another way to think about this: You know how your best friend has a unique way of telling stories that makes you laugh every time? Or how your favorite teacher explains things in a way that just makes sense? That's their voice—and you have one too, in your writing.

Key Points:

• The definition of voice in writing is like a writer's unique fingerprint—it's the way they express their ideas.
• Voice isn't about what you say, but how you say it.
• Voice can include things like word choice, sentence structure, rhythm, and pace.
• Everyone has a unique voice in their writing, just like they do in their speaking.

Are you starting to get a feel for what we mean by the "definition of voice" in writing? Great! Now, let's explore how to identify this in various works.

Just like finding Waldo in those tricky picture books, identifying voice in writing can be a bit of a challenge. But don't worry, I've got some tricks up my sleeve that can make this task a lot easier for you.

One way to identify voice is to pay attention to the writer's choice of words. Are they using simple, everyday language or are they throwing around fancy words like a poet at a recital? What about their tone? Is it serious, humorous, sarcastic, or maybe a bit of everything? These are some of the clues that can help you identify the writer's voice.

• The choice of words a writer uses can give you a hint about their voice.
• The tone of the writing is another important clue.

Another tip is to look at the rhythm and pace of the writing. Does it flow smoothly like a calm river or does it jump around like a bunny in spring? The rhythm and pace can tell you a lot about the writer's voice. Think of it like the beat in a song—it's the same concept.

And last but not least, don't forget about the structure of the sentences. Short and punchy sentences can create a different voice compared to long and complex ones.

Quick Recap:

• Pay attention to the rhythm and pace of the writing.
• Look at the structure of the sentences.

Ready for a little test? Grab a book or an article and see if you can identify the writer's voice using these tips. Remember, practice makes perfect when it comes to understanding the definition of voice in writing.

Why is it that we can't resist the smell of a fresh batch of cookies or the sound of our favorite song? It's because these things resonate with us on a personal level. The same goes for the voice in writing—it can draw us in, keep us engaged, and make us feel something.

Here's the thing: writing without voice is like a song without melody—it's flat, uninteresting, and forgettable. On the other hand, a strong voice can make your writing more engaging, relatable, and memorable. It's the secret sauce that can make your writing stand out from the crowd.

Think about your favorite book or article. What made it special? Chances are, it's not just the content, but the way it was told—the voice of the writer. That's the power of voice in writing.

• Voice can make your writing more engaging and memorable.
• It's the secret sauce that can make your writing stand out.

Moreover, voice can help convey your message more effectively. It can reflect your personality, your values, and your perspective, making your writing more authentic and credible. After all, people connect with people, not just words on a page.

And let's not forget about persuasion. A strong voice can be persuasive, encouraging readers to think, feel, or act in a certain way. In a world where everyone is competing for attention, a compelling voice is not just nice to have—it's a must-have.

• Voice can help convey your message more effectively.
• It can make your writing more authentic and credible.
• A strong voice can be persuasive, encouraging readers to take action.

So, next time you're writing, don't just focus on what you're saying, but also how you're saying it. Remember, understanding the definition of voice in writing can make a big difference in your writing journey.

Developing your own unique writing voice might seem like a daunting task. Don't worry—we've all been there. But just like learning to ride a bike or mastering a new recipe, it gets easier with practice. Let's walk through the steps together.

First things first: you need to know yourself. Your writing voice is a reflection of who you are—your personality, your experiences, your values. So take some time to reflect on these aspects. What makes you, well, you?

Ask yourself:

• What are your interests or passions?
• What are your values and beliefs?
• What experiences have shaped you?

The answers to these questions will give you a starting point to develop your unique voice.

Next, read... a lot. Reading different authors and genres can help you explore different voices. Notice how they use language, tone, and style. What do you like? What do you dislike? Use these insights to shape your own voice.

Then, practice writing regularly. Like any skill, writing improves with practice. Try writing about different topics, in different styles. Experiment and have fun with it. Over time, you'll start to notice patterns and preferences that define your unique voice.

Finally, seek feedback. Share your writing with others and ask for their thoughts. Sometimes, others can see things that we might miss. Their feedback can help you refine your voice.

Key takeaways:

• Know yourself—your voice is a reflection of who you are.
• Read a lot to explore different voices.
• Practice writing regularly to hone your voice.
• Seek feedback to refine your voice.

Remember, developing your writing voice is a journey, not a destination. So, give yourself permission to explore, experiment, and evolve. After all, understanding the definition of voice in writing is about finding your unique way of expressing yourself.

Now that we've established the definition of voice, let's delve into maintaining its consistency. Consistency is key in establishing a strong, identifiable voice. Imagine reading your favorite book series—part of what makes it so enjoyable is the consistent voice that threads through every single page. So, how can you achieve this consistency in your own writing? Let's find out.

The first step is to decide on your voice. Reflect on the previous section on developing your voice. What did you discover about your unique writing style? Once you've determined this, try to stick to it. This consistency will become your voice's signature.

Next, be aware of your tone. While your voice remains consistent, your tone can vary depending on the situation. For example, your tone might be more serious when discussing an important issue, but more light-hearted when sharing a fun anecdote. Balancing your consistent voice with a flexible tone can make your writing more engaging.

Another tip is to use a style guide. This can be as simple or complex as you want. It could include your preferred grammar and punctuation rules, or even specific words and phrases that reflect your voice. Refer to this guide whenever you write to maintain consistency.

Finally, review and revise your work. This can help you spot any inconsistencies in your voice. It can be helpful to take a break before reviewing your work—you'll be more likely to catch any discrepancies with fresh eyes.

Quick recap:

• Decide on your voice and stick to it
• Be aware of your tone—it can vary
• Use a style guide for reference
• Always review and revise your work

Consistency in voice isn't just about sticking to one style—it's about making your writing uniquely you, every single time. And that, my friends, is the true definition of voice in writing.

Understanding the definition of voice in writing is like having a secret weapon. But how does this weapon function in different genres of writing? Let's explore.

Let's start with fiction. In a story, your voice is the storyteller—it adds color, sets the mood, and guides the reader through the narrative. A mystery novel might use a suspenseful, tense voice, while a comedy might use a light-hearted, humorous voice.

Moving on to non-fiction, the voice plays a crucial role in engaging the reader. Whether you're writing a memoir or a technical manual, a clear and distinctive voice can make the content more accessible and enjoyable to read.

In poetry, your voice is your heart—it conveys your emotions and ideas, paints vivid images, and creates a rhythm that flows like music.

Lastly, let's talk about academic writing. While it might seem like there's no room for voice in a research paper or thesis, that's not entirely true. A clear, concise voice can make complex ideas easier to understand, and a consistent voice can lend credibility to your research.

• In fiction, your voice is the storyteller
• In non-fiction, voice makes your writing engaging
• In poetry, your voice is your heart
• In academic writing, a clear voice makes your work credible

So, no matter what type of writing you're tackling, your voice has a role to play. It's what makes your writing uniquely you, and that's the magic of understanding the definition of voice in writing.

Now that we've explored the definition of voice and its role in different genres, let's take a look at some examples of strong voice in literature. These examples will show you the power of voice and how it can make a piece of writing unforgettable.

First, let's talk about Harper Lee's classic, "To Kill a Mockingbird". Here, the voice of Scout, a young girl, is so clear and authentic that the reader can almost hear her speaking. It's this distinctive voice that brings the story to life and keeps us turning the pages.

Next, consider "The Catcher in the Rye" by J.D. Salinger. The protagonist, Holden Caulfield, has such a unique voice—cynical yet vulnerable—that you feel like you're inside his head, experiencing the world as he does.

Another great example is "Pride and Prejudice" by Jane Austen. Austen's witty and ironic voice not only entertains us but also provides a sharp commentary on the social norms of her time.

Finally, let's look at "1984" by George Orwell. The voice in this dystopian novel is chilling and bleak, perfectly reflecting the oppressive society it depicts.

In summary:

• Scout's voice in "To Kill a Mockingbird" brings the story to life
• Holden Caulfield's voice in "The Catcher in the Rye" puts you inside his head
• Jane Austen's voice in "Pride and Prejudice" provides witty social commentary
• The voice in "1984" creates a chilling dystopian atmosphere

These examples highlight the power of voice in literature. A unique and powerful voice can turn a good book into a masterpiece. It's all about finding your voice and making it heard, that's the true definition of voice in writing.

Alright, so we've covered the definition of voice in writing, seen how it can vary across genres, and looked at some famous examples. Now, let's get into something a bit tricky: adapting your voice for different audiences. The same piece of writing can be interpreted in different ways by different people, so it's important to adjust your voice accordingly.

Firstly, consider who you're writing for. Is it a group of middle-school students? Or is it a gathering of professionals in a certain field? Understanding your audience is the first step to adapting your voice.

Let's say you're writing a science article for kids. You'll want to use simple, clear language and avoid jargon. You might even want to add a playful tone to make the material more engaging. But if you're writing the same article for a scientific journal, you'd need to switch to a more formal voice and use technical terms.

Imagine you're writing a travel blog. If your readers are budget travelers, you might use a relaxed, friendly voice and focus on cost-saving tips. But if your audience is luxury travelers, you might adopt a sophisticated voice and talk about high-end experiences.

In a nutshell:

• Understand who your audience is
• Adapt your voice to match their needs and expectations
• Change your tone, language, and focus as needed

No matter who your audience is, the key is to make your voice resonate with them. It's not always easy, but with practice, you can learn to adapt your voice for different audiences while still staying true to your unique style. Remember, the definition of voice in writing isn't just about how you write—it's also about who you're writing for.

If you enjoyed this comprehensive guide on understanding the definition of voice and want to explore more ways to develop your own creative voice, don't miss the workshop ' Crafting a Creative Voice through Collage! ' by Christine Kim. This workshop will guide you through the process of using collage as a medium to express your unique voice and make your artistic creations truly stand out.

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What Is Voice? Definition, Usage, and Literary Examples

Voice definition.

Voice  (VOYss) is the opinion or attitude authors express in their writing, an aspect of literature that better connects the reader to the material. It’s also an element of the narrator’s  perspective , or what they bring to the piece based on their background, opinions, culture, and life experience. Essentially, voice is the personality of a piece of writing.

Voice  comes from the Latin term  vocem , which means “utterance or call.” Even though voice is usually meant to describe verbal communication, its literary usage describes the emulation of speech in writing.

Different Types of Voice

Outside of textbooks or other forms of research, writers need to have a distinct voice to captivate their readers. It’s gives an authentic feel to a written work and draws the reader in. The two types of voice that can be found in a  narrative  are author voice and character voice. While both set the  tone  of the story, they are distinct.

Author Voice

Everyone has a unique personality, and that personality is what creates an author’s unique voice. It’s determined by their background and world views, and they make it known through their stylistic choices, such as diction and syntax. How authors phrase their thoughts, whether they use foul language, and whether they’re casual or formal all comes together to form their voice. Oftentimes, an author’s voice is so distinctive that it can be recognized in a blind reading of their work.

Usually, an author will draw from their own lives when writing a story, which can influence character voice as well. Authors’ work in the context of their own experiences became a prominent discussion in 2015 when the  #OwnVoices movement  surfaced. #OwnVoices refers to a piece of writing wherein the author shares the main character’s race, gender, disability, and/or identity—specifically, characters from marginalized groups. This movement surfaced because of how frequently stereotypes appeared in works where authors inaccurately describes experiences distinctly separate from their own. #OwnVoices also promotes stories whose characters’ lives are derived from real-life experiences, as well as works that support marginalized groups.

Character Voice

Like the author’s voice, characters’ voices impart their personality, thought process, and perspective. The author decides whether a character will be funny, shy, ambitious, bossy, or intelligent, then makes it known through the character’s dialogue and characterization.

Dialogue is an effective way to bring out a character’s voice through the words they say, as well as the grammar and structure the writer uses to present those words. For instance, if the character is shy, the author might use short  sentences  that feature ellipses because the character tends to drop off at the ends of sentences.

Another way to establish character voice is through their  characterization . Characters get put into unique situations based on the story’s  plot , and the actions they take reveal who they are and what their voice is. If a character goes to a friend’s house, for example, and is surprised by the family’s kindness, readers will know the character’s background is likely one unfamiliar with kind adults. Thus, their voice comes off as reserved or even distrustful.

Voice and Other Literary Terms

Voice vs.  Point of View

The narrator’s socioeconomic background determines the voice of a piece, whereas whoever’s telling the story determines the point of view. Pronouns such as  I, me,  and  my  mean the piece is written in first person;  you  and  your  indicate second person; and  he, she, they, them,  and  their  are associated with third person.

The narrator’s point of view affects the work’s voice based on the knowledge the narrator has. With first person, a written work can almost seem like the narrator’s diary because readers are experiencing their inner thoughts. So, the work’s voice will be personal and impart the narrator’s unique perspective. Third person—the most common point of view in fiction—allows the narrator to tune into multiple characters’ thoughts and emotions. A work written in third person can have a less personal voice, as the narrator is observing from outside the situation rather than being a part of it. The voice may even change throughout the piece, as some characters might be more formal or have different backgrounds than other characters.

Voice vs. Persona

Character voice is related to persona in that the latter refers to how the author approaches the story.  Persona  comes from Latin, where it meant “the actor’s mask.” So, in a literary context, persona is considered the mask an author wears to properly convey how the story’s events are experienced. Persona, then, is an element that affects both the author’s voice and the character’s.

Writers Known for Their Voice

These authors are known for popularizing a unique style of voice in literature.

• Charles Dickens: Because of his background as a lower-class, uneducated factory worker who championed various social reforms, Dickens’s voice is one critical of the socioeconomic class structure in Victorian England.
• William Faulkner: Faulkner often utilizes stream of consciousness to create more authentic character voices, as the style focuses on natural thought processes rather than overly analytical narration.
• James Joyce: Like Faulkner, Joyce was a modernist who utilized stream of consciousness narration to show his characters’ fragmented internal voices. Joyce’s own voice was steeped in the formality characteristic of the modernist movement.
• Edgar Allen Poe: A prolific writer in the Gothic style, Poe’s voice is often dark and melodramatic, communicating feelings of melancholy, longing, and apprehension.
• Hunter S. Thompson: The creator of “gonzo” journalism, wherein Thompson made himself the protagonist in his investigative reporting, Thompson’s voice was often manic and suspicious—due in no small part to his extensive drug use.
• Mary Shelley: In her most famous work,  Frankenstein , the voices of the titular scientist and his Creature are laced in paranoia, anger, and regret.
• Mark Twain: Throughout his literary works, Twain uses a very  colloquial  voice to convey his characters’ backgrounds and influences.

Examples of Voice in Literature

1. J.D. Salinger,  The Catcher in the Rye

Salinger’s famous work follows protagonist Holden Caulfield, a disillusioned teenager whose cynical voice is portrayed through a  vernacular  that befits his young age and rejection of polite society. Here, Holden talks about his deceased brother Allie:

I know he’s dead! Don’t you think I know that? I can still like him, though, can’t I?

Just because somebody’s dead, you don’t just stop liking them, for God’s sake—especially if they were about a thousand times nicer than the people you know that’re alive and all.

This first-person account of Holden’s troubled life is made more captivating and authentic by his dialogue. He tends to say “and all” at the end of his sentences, uses contractions, and has a pessimistic view on life. This informal, often flippant voice is strongly associated with teenagers, making Holden feel real and relatable to readers.

2. Jodi Picoult,  House Rules

In this novel, a boy with Asperger’s syndrome named Jacob is accused of murdering his tutor. A detective brings him in for questioning, and in the middle of the conversation, Jacob notices the clock and begins to stress about missing his favorite show:

Without any traffic it takes sixteen minutes to get from the police station to my house. That means we will not get home till 4:33, and CrimeBusters begins at 4:30. I stand up, both of my hands fluttering in front of my chest like hummingbirds, but I don’t even care anymore about trying to stop them. It feels like the moment on the TV show when the perp finally caves in and falls to the metal table, sobbing with guilt. I want to be watching that TV show, instead of living it. “Are we done now?” I ask. “Because I really have to go.”

Despite the serious situation, Jacob is fixated on not being able to follow his routine. Through this characterization, Picoult shows the reader how important structure is to Jacob. His  sentences  are matter of fact and honest, which gives him a methodical, if obsessive, voice.

3. Jane Austen,  Sense and Sensibility

Upon learning that Willoughby is marrying someone other than Marianne, who he has overtly flirted with and lead on, Lady Middleton makes her disapproval known:

Lady Middleton expressed her sense of the affair about once every day, or twice if the subject occurred very often, by saying, “It is very shocking indeed!” and by the means of this continual though gentle vent was able not only to see the Miss Dashwoods from the first without the smallest emotion, but very soon to see them without recollecting a word of the matter; and having thus supported the dignity of her own sex and spoken her decided censure of what was wrong in the other, she thought herself at liberty to attend to the interest of her own assemblies and therefore determined (though rather against the opinion of Sir John) that as Mrs. Willoughby would at once be a woman of elegance and fortune, to leave her card with her as soon as she married.

Eloquent is the best word to describe Austen’s voice. This entire paragraph, written in third person, is one sentence, yet its syntax is easy to follow. Austen’s word choice is era appropriate, instantly grounding the reader in the societal context of the time in which the story takes place.

Further Resources on Voice

This article  by ThoughtCo. lists several quotes that explain a unique element of voice in writing.

Literary Voice: The Calling of Jonah  argues the value of literary voice and analyzes speaking in writing.

Related Terms

• Point of view

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What is a Writer’s Voice & How to Find and Develop Your Writing Voice

by Fija Callaghan

Think about who your favorite authors are. Now, ask yourself why they’re your favorites. Is it because of the clever plot twists and turns of phrase ? Is it because of the way they craft compelling, believable characters ? All of these things are part of making a great story, but if you love returning to the same author again and again it’s probably due to something much simpler—their voice . The way they tell the story.

What is voice in writing?

A writer’s voice, also called a literary voice, is a blend of the writer’s personal style, tone, personality, vocabulary, syntax, and unique experiences. In simpler terms, it’s the personal expression of that writer and no one else. Many writers can be identified by the unique way their voices sound on the page, even when the narrators and genres change.

Regardless of the story’s genre or time period, certain stylistic trademarks will consistently make their way into any given writer’s work. These can include the way sentences are structured: some writers might favor short, snappy sentences while others like indulgent sentences held aloft by a small army of commas that go on for a third of the page. The energy to those sentences might be intimate, lighthearted, and approachable, or they might be more objective and distant. This all becomes part of a writer’s signature style.

You’ll also see the same thematic elements in a writer’s work, even when the plots and characters change. This is because deep down, writers are often trying to communicate the same central ideas to their audiences over and over, since they’re things the authors care about deeply. This passion will naturally become a part of the stories that they tell.

A writer’s voice can also be a reflection of the relationship they have with the reader and with the world around them.

Some writers might find ironic humor in every moment of their story. Some might converse with the reader with a comfortable intimacy, like a sibling or friend. Others might be drawn to the beauty all around them, exploring it with rich, sensual imagery in any genre of work.

You’ll be instinctively drawn to these energies in the work of the writers you love. When you begin writing your own stories and developing your own unique voice, you’ll find that your own energy and tone begins to shine through more and more.

The writer’s voice vs. character’s voice

It’s important to note that the writer’s voice isn’t the same thing as their characters’ voices. A writer’s voice is the expression of the author; a character’s voice is the unique way in which their fictional characters express themselves.

In a well-written story, two characters might speak in very different ways depending on their social class, location, and upbringing. Giving your characters different voices is a wonderful exercise in characterization.

For example, if you write a story about a troubled city-bred teenager going to visit his ailing grandmother in the countryside, it’s unlikely that the teenager and the grandmother would speak in the same style. They’d probably have different vocabularies, different ways of putting their sentences together, and they’d speak at different paces.

Showing these two character voices realistically is not an easy thing to do, but a wonderful way to grow as a writer.

The writer’s voice vs. point of view

In creative writing, authors also need to choose a point of view from which to express the story.

The most common point of view styles are first person (told from the character’s perspective, using the pronoun “I”), third person limited, and third person omniscient (both told through the narrator’s voice, using the pronouns “He,” “She,” and “They”). However, there are other point of view styles you can use like second person and fourth person.

Some of these perspectives will be closer to the characters, and others will be more distant. In a closer, more intimate perspective, you may find that the author’s voice and the character’s voice overlap. In a more removed point of view, you may find that the story being told begins to sound less like your individual characters and more like you.

5 distinctive writer’s voices

Some writers in literature have such instantly recognizable voices that you would never mistake them for anyone else; they’ve inspired generations of imitators, as well as new authors who have learned from them before going on to develop unique voices of their own.

Let’s look at some of the most iconic writer’s voices in literature.

1. Mark Twain

Now the way that the book winds up is this: Tom and me found the money that the robbers hid in the cave, and it made us rich. We got six thousand dollars apiece—all gold. It was an awful sight of money when it was piled up. Well, Judge Thatcher he took it and put it out at interest, and it fetched us a dollar a day apiece all the year round—more than a body could tell what to do with.

Mark Twain was the original American everyman. Unlike many of his contemporaries who were writing in high literary voices, he wrote stories using a first-person narrator drenched in the slang and colloquialisms of the time. This made it feel like you were hearing an account from a close friend instead of reading a highbrow literary work.

The quote above is from his magnum opus, The Adventures of Huckleberry Finn , a book that was incredibly ahead of its time and is still being debated today. His casual intimacy made his stories feel marvelously present and immersive for readers.

2. Raymond Chandler

It was about eleven o’clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved and sober, and I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.

Raymond Chandler has been called “the father of the noir genre,” and is famous for his gritty, lightly sardonic detective novels of the 1930s and 1940s. His narration is made up of short, snappy clauses, one- and two-syllable word choice, and lines of dialogue that keep the pace swift. His writing voice has a marvelous gift for conveying time and place.

The quote shown here is the opening to his first major novel, The Big Sleep , which later became a cult favorite film starring Humphrey Bogart. Right away he shows us a self-aware depreciation that endears us to the central character and lands us squarely in the sharp, well-developed lines of the setting.

3. Jane Austen

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighborhood, this truth is so well fixed in the minds of the surrounding families, that he is considered as the rightful property of some one or other of their daughters.

So begins one of the most iconic romantic comedies of all time. Jane Austen wrote with a soft, romantic neoclassicism, hiding a sarcastic and rich perception of the human condition behind the socially acceptable formality of the time.

Her author’s voice contains sentences are often long and languid and sepia-toned. If you read her work and pay attention, however, you’ll notice a cutting wit weaving in and out of the rose-scented decorum.

4. Ernest Hemingway

All of the sadness of the city came suddenly with the first cold rains of winter, and there were no more tops to the high white houses as you walked but only the wet blackness of the street and the closed doors of the small shops, the herb sellers, the stationery and the newspaper shops, the midwife—second class—and the hotel where Verlaine had died where I had a room on the top floor where I worked.

Ernest Hemingway is famous for prose that is clean and uncluttered to the point of sparsity; luxuries like adjectives, adverbs, and semicolons are used sparingly or tossed away in favour of stark minimalism.

The above excerpt is from his Parisian memoir, A Moveable Feast . In his work, Hemingway stripped away everything that was unnecessary to reveal the carefully curated bones of the story underneath. In character-driven works, the dialogue is largely objective; he does not romanticize his narrative, but simply shows the world the way it is. Nothing more and nothing less.

5. Agatha Christie

“Supposing,” murmured Poirot, “that four people sit down to play bridge and one, the odd man out, sits in a chair by the fire. At the end of the evening the man by the fire is found dead. One of the four, while he is dummy, has gone over and killed him, and intent on the play of the hand, the other three have not noticed. Ah, there would be a crime for you! Which of the four was it?” “Well,” I said. “I can’t see any excitement in that!” Poirot threw me a glance of reproof. “No, because there are no curiously twisted daggers, no blackmail, no emerald that is the stolen eye of a god, no untraceable Eastern poisons. You have the melodramatic soul, Hastings.”

Agatha Christie’s writing has a simplistic poetry to it that is anything but simple. The long reigning queen of crime fiction, her work is heavy with expository dialogue and is rich in characterization. Though her work deals with unnerving and often bloody subject matter, the way she strings her words together has a soft and quintessentially feminine energy.

This quote from her famous ABC Murders shows the way she plays with character psychology through dialogue. She is very efficient at conveying layers of subtext through careful word selection and simple dialogue.

3 ways to develop your own writing voice

Now that you’ve developed an understanding of what voice in writing means, let’s explore three things you can do to begin developing your author’s voice (and one thing not to do!).

1. Read everything

This is true of all aspects of the writing craft, but especially for developing your literary voice.

Try reading the five authors we talked about here, and go back and read your personal favorites. Read new authors just launching their debut novels, and seasoned authors whose books have been inspiring writers for generations. Read books in the genre you hope to write in, and books it would have never occurred to you to read before. Every single one has something to teach you.

Try to develop an inner ear for the way each writer assembles a single sentence. Look at which details they take time to explore and which details they leave to the imagination of the reader. By getting to know the rhythms of a range of different writers, you’ll begin to get a sense of which ones feel like they could be a part of you.

2. Try on other writers

Once you’ve absorbed the voices of other writers through reading, try giving yourself a challenge: write something in the voice of one or more of those writers.

For instance, you might write a piece of flash fiction and imagine how it would sound if Ernest Hemingway had written it, and then describe the same story again in the voice of Jane Austen. You’ll be amazed at how different they’ll be.

This is not plagiarism, because you’re being inspired by these author’s voices—you’re not copying their writing word for word. If it makes you more comfortable, you can subtitle your story, “inspired by the literary voice of ______.” However, the most important thing is that you begin with your own unique ideas and challenge yourself to fit those ideas into voices that have inspired you.

Here’s the thing: your subconscious is pretty smart. Without you even noticing, your mind will be cataloguing all of these details and deciding which ones feel like a good fit for your unique voice, and discarding the rest. Doing these exercises won’t leave you sounding like a watered down version of Jane Austen or Ernest Hemingway; they’ll help you find which tones, styles, and rhythms feel like “home” to you and which are only places to visit. The voice you emerge with will be all your own.

3. Experiment with structure

It’s been said that formal, structured poetry reveals a lot more about a writer than modern free verse poetry. The reason for this is that when faced with more rigid boundaries, writers will naturally look for ways to stretch their personal creativity and express their own voice.

For example, if two poets are told to write a fourteen-line sonnet in iambic pentameter about the rain on a winter’s day, those two writers will produce two very, very different poems. Each one will reveal something about the way that writer sees the world and their relationship with it.

The same is true of fiction. Say two writers are asked to write a short story about two people who meet at a busy café in a train station, each of whom is keeping a secret from the other. Sounds pretty specific, doesn’t it? And yet, this simple story seed holds worlds of possibility.

The way each writer brings their own unique perspectives, tone, approach to sentence structure, and perception of the human condition will dictate the direction that this little story will take.

To develop your own writer’s voice, try using writing prompts and story archetypes to exercise your writing muscles. The more specific the exercises, the more you’ll be able to see how much of what comes out is completely, unapologetically you .

Bonus: the 1 thing not to do to develop your writer’s voice

In some lessons on developing your writer’s voice, you might come across this singularly important “rule” (like all “rules” of writing, be wary of following it if you don’t quite understand why you’re following it in the first place): whatever you do, keep it consistent .

The reasons for this are twofold: Firstly, if you need to force yourself to keep your writer’s voice consistent, it’s not your writer’s voice. Your voice is what naturally comes from you; it is your essence given from in words. If you ever feel like your writer’s voice is getting off track and you need to corral it back into shape, what you have is not a voice—it’s a style.

The second reason is that your writer’s voice is constantly evolving. Growth is never a bad thing in any aspect of our lives, and certainly not in our literary voices. The more we read, write, and learn about the world, the more our writing will evolve and refine. Trying to keep it “consistent” is to limit all the possibilities of what it can become.

The bottom line? Finding your writer’s voice is not an act of creating something from nothing; it is an act of sloughing away everything your voice is not to reveal the voice that has been there all along, and then giving it room to grow.

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Tone, Voice, and Point of View

Yo! Wassup? Hey, how you doin’? Hello, how are you today?

Which of the above greetings sounds most formal? Which sounds the most informal? What causes the change in tone?

Your voice can’t actually be heard when you write, but it can be conveyed through the words you choose, the order you place them in, and the point of view from which you write. When you decide to write something for a specific audience, you often know instinctively what tone of voice will be most appropriate for that audience: serious, professional, funny, friendly, neutral, etc.

For a discussion of analyzing an author’s point of view when reading a text, see  Point of View  in the “Writing about Texts” section.

What is point of view, and how do I know which one to use?

Point of view can be tricky, so this is a good question. Point of view is the perspective from which you’re writing, and it dictates what your focus is. Consider the following examples:

• I love watching the leaves change in the fall. (First person point of view)
• You will love watching the leaves change color. (Second person)
• The leaves in fall turn many vibrant colors. (Third person)

Which of the above sentences focuses most clearly on the leaves? Third person, right? The first person sentence focuses on what “I” love and the second person sentence focuses on what “you” will love.

• First person uses the following pronouns: I, me, my, us, we, myself, our, ours … any words that include the speaker/writer turn the sentence into first person.
• Second person uses any form of the word “you,” which has the effect of addressing the reader.
• Third person uses pronouns like he, she, it, they, them … any words that direct the reader to a person or thing that is not the writer or reader turn the sentence into third person.

That’s a lot to think about. When is it okay to use each of these points of view?

Many of your college instructors will ask you to write in third person only and will want you to avoid first or second person. Why do you think that is? One important reason is that third person point of view focuses on a person or topic outside yourself or the reader, making it the most professional, academic, and objective way to write. The goal of third person point of view is to remove personal, subjective bias from your writing, at least in theory. Most of the writing you will do in college will require you to focus on ideas, people, and issues outside yourself, so third person will be the most appropriate. This point of view also helps your readers stay focused on the topic instead of thinking about you or themselves.

The best answer to your question is that the point of view you choose to write in will depend on your audience and purpose. If your goal is to relate to your audience in a personal way about a topic that you have experience with, then it may be appropriate to use first person point of view to share your experience and connect with your audience.

The least commonly used point of view is second person, especially in academic writing, because most of the time you will not know your audience well enough to write directly to them. The exception is if you’re writing a letter or directing your writing to a very specific group whom you know well. (Notice that I’m using second person in this paragraph to directly address you. I feel okay about doing this because I want you to do specific things, and I have a pretty good idea who my audience is: reading and writing students.) The danger of using second person is that this point of view can implicate readers in your topic when you don’t mean to do that. If you’re talking about crime rates in your city, and you write something like, “When you break into someone’s house, this affects their property value,” you are literally saying that the reader breaks into people’s houses. Of course, that’s not what you mean. You didn’t intend to implicate the readers this way, but that’s one possible consequence of using second person. In other words, you might accidentally say that readers have done something that they haven’t or know, feel, or believe something that they don’t.

Even when you intend to use third person in an academic essay, it’s fine in a rough draft to write “I think that” or “I believe” and then to delete these phrases in the final draft. This is especially true for the thesis statement. You want to eliminate the first person from the final draft because it moves the focus—the subject and verb of the sentence—to the writer rather than the main point. That weakens the point because it focuses on the least important aspect of the sentence and also because it sounds like a disclaimer. I might say “I think” because I’m not sure, or “I believe” because I want to stress the point that this is only my opinion. Of course, it’s okay to use a disclaimer if you really mean to do so, and it’s also fine to use first person to render personal experience or give an anecdote.

Does anything else affect the tone of my writing?

Yes! Many times writers are so focused on the ideas they want to convey that they forget the importance of something they may never think about: sentence variety. The length of your sentences matters. If you start every sentence with the same words, readers may get bored. If all of your sentences are short and choppy, your writing may sound unsophisticated or rushed. Some short sentences are nice though. They help readers’ brains catch up. This is a lot to think about while you’re writing your first draft though, so I recommend saving this concern for your second or third draft.

Visit the Purdue OWL page, “ Strategies for Variation ” for some examples of sentence variety and exercises that will improve your sentence variety superpowers.

The Word on College Reading and Writing Copyright © by Carol Burnell, Jaime Wood, Monique Babin, Susan Pesznecker, and Nicole Rosevear is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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Style, Diction, Tone, and Voice

Style is the way in which something is written, as opposed to the meaning of what is written. In writing, however, the two are very closely linked. As the package for the meaning of the text, style influences the reader’s impression of the information itself. Style includes diction and tone. The main goal in considering style is to present your information in a manner appropriate for both the audience and the purpose of the writing. Consistency is vital. Switching styles can distract the reader and diminish the believability of the paper’s argument.

Diction is word choice. When writing, use vocabulary suited for the type of assignment. Words that have almost the same denotation (dictionary meaning) can have very different connotations (implied meanings). 

Besides the level of formality, also consider positive or negative connotations of the words chosen.

Some types of diction are almost never advisable in writing. Avoid clichés, vagueness (language that has more than one equally probable meaning), wordiness, and unnecessarily complex language.

Aside from individual word choice, the overall tone, or attitude, of a piece of writing should be appropriate to the audience and purpose. The tone may be objective or subjective, logical or emotional, intimate or distant, serious or humorous. It can consist mostly of long, intricate sentences, of short, simple ones, or of something in between. (Good writers frequently vary the length of their sentences.)

One way to achieve proper tone is to imagine a situation in which to say the words being written. A journal might be like a conversation with a close friend where there is the freedom to use slang or other casual forms of speech. A column for a newspaper may be more like a high-school graduation speech: it can be more formal, but it can still be funny or familiar. An academic paper is like a formal speech at a conference: being interesting is desirable, but there is no room for personal digressions or familiar usage of slang words. 

In all of these cases, there is some freedom of self-expression while adapting to the audience. In the same way, writing should change to suit the occasion. 

Tone vs. Voice

Anything you write should still have your voice: something that makes your writing sound uniquely like you. A personal conversation with a friend differs from a speech given to a large group of strangers. Just as you speak to different people in different ways yet remain yourself, so the tone of your writing can vary with the situation while the voice -- the essential, individual thoughts and expression -- is still your own. 

“Don’t play what’s there; play what’s not there.”       - Miles Davis “The notes I handle no better than many pianists. But the pauses between the notes—ah, that is where the art resides.”       - Artur Schnabel (1882–1951), German-born U.S. pianist.

These two musicians expressed the same thought in their own unique voices.

Reference: Strunk, William Jr., and E. B. White. The Elements of Style . 4th ed., Allyn and Bacon, 2000.

Copyright © 2009 Wheaton College Writing Center

What is Academic Voice

The purpose of this guide is to provide students with information regarding the characteristics of academic voice and guidelines on how it can be used effectively.

Academic writing falls under the category of formal style, and it is actively utilized in various professional and scientific settings. The use of the academic voice is required from students when they engage in written activities, and its correct application implies compliance with certain standards. This style is designed to convey objective information, as well as to prove reliability and credibility through the provision of evidence.

General Points

Overall, academic voice is characterized by accuracy, logical presentation, and emotional neutrality. Texts written in academic voice are distinguished by their unambiguous use of concepts, clear definitions, combination of judgments and conclusions in accordance with the laws of logic, as well as by the presence of transparent reasoning. From the point of view of vocabulary, academic voice requires the utilization of both neutral vocabulary and special terms. In this type of writing, the constructions designed to emphasize the logical sequence of thoughts is of particular importance.

In general, it is expected that minimal emotionality and expressiveness are displayed in academic voice, but there may be exceptions to this rule depending on the situation. When academic voice is used to write historical, philosophical, and various other types of texts, comparisons, metaphors, epithets, and other means of expression may be used to reinforce the arguments proposed by the author. The choice of specific structures depends on the purpose of the written text; nonetheless, the tone of the paper should be as neutral as possible.

Developing an Academic Voice in Writing

Educational institutions require that students follow specific rules and utilize academic voice when they complete their written assignments. This means that papers written in an academic voice will sound differently as compared to, for example, an email written to a friend. Academic writing implies the proper use of declarative sentences, precision of thought, reliability of facts, and the correct introduction of the author’s personal ideas.

Declarative Sentences

One of the main aspects of academic voice is the creation and use of declarative statements instead of sentences with the first-person singular personal pronoun “I”. In particular, such statements may carry the same meaning, but it is essential to omit the use of this personal pronoun to make the sentence sound formal, neutral, and objective. In the majority of cases, such a statement may be created by simply getting rid of the “I” part of the sentence. Overall, the use of declarative sentences allows the author of the text to ensure their claims sound authoritative and informed, and declare their position regarding the issue in a clear way. The two examples below illustrate an “I” statement and a declarative one.

I believe global warming is a major international problem, which is caused by gas emissions.

Global warming is a major international problem, which is caused by gas emissions.

Casual Language

Another crucial requirement of academic voice is to avoid casual language that individuals use in informal settings and daily interactions when communicating with other people. It is important to keep the narration formal and use those grammatical and lexical structures that will allow building statements that are scientific and professional. The author of the text could imagine that they are addressing the academic community rather than their peers. To learn how to use formal structures and academic voice effectively, it is advisable to read scientific articles, textbooks, professional publications, and other reliable sources. A few recommendations on how to achieve a professional communication style include:

• Do not use contractions such as “won’t”, “shouldn’t” and so on.
• Do not use such indicators as “okay”, “well” and phrases like “you know” .
• Never use foul language.
• Do not include jokes or examples that may come across as off-color humor.
• Do not interact with the reader using the personal pronoun “you” .

Being Concise

Academic voice is characterized not only by the correct use of grammatical and lexical structures and appropriate tone but also by precision and clarity. In professional writing, any statement should reveal its essence to the reader straight away. Therefore, it is necessary to try to express the idea in three words instead of extending it to ten by filling the sentence with vague-sounding phrases. Below are some tips on how to write clearly and concisely:

• Use those words that reveal the intended meaning clearly.
• Use “this/that” together with a noun.
• Avoid redundancies and do not start statements with “there is/are” . They take up space but contribute nothing to the meaning (see Example below).
• Do not repeat the same statement or idea twice.

Table 1. Using concise language.

Specific Vocabulary and Precise Words

The use of specific vocabulary and precise words implies utilizing field-specific terminology where appropriate. For instance, if the paper is written on the topic of education, it is necessary to use the term “modification” instead of a lengthy explanation such as “diversification of what and how a student is taught”. This way, the writer will be able to avoid vagueness and subjectivity. Academic voice requires authors to state precisely what they mean so that the reader does not need to deconstruct their thoughts.

Any academic writing should rely on evidence gathered from reputable and up-to-date sources. If the author of the text does not provide evidence, it means that they want the audience to take the suggested arguments or facts for granted (as if they are true just because the author wrote them). In addition, if the writer does not cite any references, it undermines the credibility and reliability of the entire work. Moreover, if the evidence is outdated, or if it comes from an unreliable source, it also affects the quality of the text. Therefore, it is important to:

• Cite the sources throughout the paper to achieve credibility.
• Use up-to-date references, which can be found in the university library or various databases.
• Reference the ideas that do not belong to the author of the academic paper to avoid plagiarism.

Author’s Ideas and Analysis

Notably, writing in an academic voice implies a level of information synthesis in which the author first provides reliable evidence and supporting information and then adds their own analysis and interpretation. When a student carries out research on a topic, they form their individual opinion in the process. Their personal thoughts should be revealed to the audience where appropriate. In particular, after providing evidence, it is possible to support or reinforce it with the student’s own analysis of the topic. As a rule, the author’s own ideas and analysis are included in the final sentences of a paragraph.

Thus, it can be concluded that academic voice is a tool or approach that allows students to deliver their ideas and analysis clearly and logically. It promotes concentration on the most significant aspects while eliminating the redundancies that hinder the effective conveying of the messages. Therefore, writing in an academic voice helps students streamline their thought processes to achieve coherence and consistency in their professional papers.

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Active Voice vs Passive Voice in Essay Writing: What's the Difference?

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Every type of writing spanning academic assignments, research proposals, movie or book reviews , newspaper articles, technical or scientific writing, and more, requires a verb in the sentence to express an action being taken.

Essentially, we know that there are two types of voices in writing – active voice vs. passive voice. Both voices have a different sentence structure, length, purpose, and tone of writing.

Now when you analyze your writing, you would be able to find specific sentences that pop out and leave a mark on the reader while some sentences remain bland and unengaging.

This will determine your active voice sentences and your passive voice sentences.

You think to yourself, “how do I choose the right voice for my writing?”

What is Active Voice in Essay Writing

In a sentence, the active voice is used when the subject or person in this specific sentence is the one who is carrying out an action that was represented by the verb. The subject is always a noun or a pronoun and this voice is used to express information in a stronger, more direct, clear, and easier-to-read way than passive voice sentences.

Active voice highlights a logical flow to your sentences and makes your writing feel alive and current – which is pivotal to use in your formal academic writing assignments to get top-scoring grades.

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What is passive voice in essay writing.

The passive voice, in a sentence, is used to emphasize the action taken place by the subject according to the verb. In this, the passive phrase always contains a conjugated form of ‘to be’ and the past participle of the main verb.

Due to this, passive sentences also include prepositions, which makes them longer and wordier than active voice sentences.

Active Voice vs. Passive Voice

Now, let us understand the difference between active voice vs. passive voice in writing.

The choice between using active voice vs. passive voice in writing always comes down to the requirements that are suitable for the type of sentences you choose to write.

For most of the writing that you do, be it blogs, emails, different types of academic essays, and more, an active voice is ideal to use for communicating and expressing your thoughts, facts, and ideas more clearly and efficiently. This way, your essay papers or other academic assessments stand out amongst the rest.

Use your judgment to write in an active voice if accuracy is not an important aspect, and always keep your readers in mind. In this case, academic writing teachers - ranging from middle school to college/universities, prefer reading your assignments in an active voice as it makes your arguments, thoughts, and sentence structures confident, brief, and compelling.

However, there are a few exceptions to using passive voice

• If the reader is aware of the subject;
• In expository writing (where the primary goal is to provide an explanation or a context);
• Crime reports, data analysis;
• Scientific and technical writing.

Passive voice is majorly used while writing assignments that direct the reader's focus onto the specific action taking place rather than the subject. It is also used when you need an authoritative tone, like on a banner or a sign on a bulletin board.

Passive voice is ideally used when the person involved in the action is not known and/or is insignificant. Similarly, if you are writing something that requires you to be objective with its solution and analysis – like a research paper, lab report , or newspaper article – using passive voice should be your go-to choice. This allows you to avoid personal pronouns, which in turn, helps you present your analysis or information in an unbiased and coherent way.

However, if your writing is meant to engage your target audience, such as a novel, then writing your sentences with a passive voice will not only flatten your content and make your writing clumsy to read, but your paper would also inherit all the extra words that would make your write-ups vague and too wordy.

2. Examples of active and passive voice

Every active voice sentence contains a form of action that is taking place by the subject. An interesting fact is that they can be written in any tense – past tense, present tense, past perfect tense, future tense, and more.

An active voice always emits a sense of agency and strength in your writing.

Here are some examples of active voice sentence structuring

• Kaitlyn worked on her upcoming novel all day long.
• Our professor will reveal this week’s surprise assignment.
• The police know that the accused is a flight risk.
• A baby monkey bit Sasha on her leg.
• I presented my research thesis to the class.
• Malek proposed the methods & principles by which each product could be analyzed.
• We will ride a train to go to Switzerland.
• I conducted a study of criminal psychology.
• The gardener was planting the Hydrangeas.

Whereas passive voice sentence structures are lengthier in words and are used when the subject or person is the recipient of an action. Passive voice in writing often conveys subtlety, submissiveness, and lack of engagement.

Moreover, just like active sentences, passive sentence structures do not need to be dependent on the verb, as they can occur in the past tense, the future tense, the subjunctive, etc.

Here are some examples of passive-voice sentences

• We were driven to Universal Studios by our professor.
• Clara was persuaded to move to Toronto.
• Jack was given two choices for the presentation topic.
• The jobs were given to two people who had no experience in writing.
• An old bike and a gun were found in the toolshed.
• The moon was walked by Neil Armstrong.
• The candy was eaten by the lady in yellow.
• Ballet dancing is a beloved activity in our class.
• The concert will be enjoyed by us tomorrow.
• Some new books were bought by me.

3. Changing passive voice to active voice

Unless you’re required to use passive voice, it is always beneficial to use active voice in your writing. That’s why overusing and misusing passive sentences can make your writing look sloppy, wordy and non-informative and you may even end up with more grammatical errors.

Here are a few ways to change your passive sentence into an active sentence

a. Identify the passive voice

In writing, the writer should choose their verb tenses, word choice, and tonality of the content very carefully.

As you finish your draft, re-read it to identify sentences that could have been more concise, or framed in a better way to improve its readability. Ask yourself what the action of the specific sentence, who is perpetrating this action is.

That is your passive voice.

Passive voice or tone consists of a past, past participle or future tense and generally the auxiliary word ‘to be’ is an indication of a passive sentence. It always refers to action not being addressed directly.

b. Remove the auxiliary verb

It's best to remove the auxiliary verb from your sentences to change it into active voice sentences by adjusting the tense of the main verb. Generally, the tense of the main verb is in the past tense.

So, determine the correct tense and use it in your verb to create an active sentence. This in turn delivers your writing in a more clear, strong, concise and urgent way.

Here’s an interesting video by mmmEnglish that explains what auxiliary verbs are.

c. Change the subject of the sentence

The main difference between active voice and passive voice is that one performs a verb and the other is a recipient of an action.

For example, in a passive sentence, “The novel was drafted by the writer”, the ‘novel’ is the subject which had been actioned by the writer.

To change it into an active voice, restructure the verb that is taking place (drafted by the writer) with the subject (novel), thus structuring “The writer drafted the novel”.

Once you have mastered the technique of identifying the voice and tonality, you will discover the ease with which your communication takes on different textures, depending upon the context at hand. While the active voice remains the direct form of communication and has more mass appeal, it is the passive voice that assumes a less biased and more objective tone.

Make sure to embellish your written expression with the right voice and give it the power and authority it deserves. We hope the tips and suggestions given above will go a long way in giving weightage to every sentence that you write and strike the right chord with readers.

When you work with Writers Per Hour, you’ll be happy to know that our professional team of writers knows when to use active and passive voice correctly, which works best for the type of paper.

If you’re running short of time or are not confident about your English writing skills, reach out to us, and we’ll ensure you receive nothing short of professionally written, high-quality papers.

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Academic Voice – in writing

Writer’s voice is the way your personality comes through on the page, via everything from word choice and sentence structure to tone and punctuation. There are many ways to achieve this through your choice of adjectives to reporting verbs.

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Varying Tone and Style Mastery

Imagine this: a groundbreaking study by esteemed linguist Deborah Tannen found that the way we express ourselves in writing can drastically alter the reception of our ideas. In her research, Tannen uncovered that individuals who skillfully varied their essay tone and style were not only more engaging but also more persuasive. This revelation underscores a profound truth about communication—how we present our thoughts matters just as much as the thoughts themselves. In the realm of essay writing, this insight transforms into a potent tool. It empowers you to adapt your voice, making it a perfect match for different essay types and thereby enhancing your ability to convey your message effectively.

Short Description

In our article, we will explore the tone of an essay examples and their pivotal role in conveying the author's message. We'll delve into three primary essay types—APA, Chicago, and MLA—highlighting their distinctive formatting and citation styles. We'll also demystify the concept of voice in an essay and explore how this elusive element can adapt and transform, resonating differently based on the essay's type and purpose. Join us in navigating the intricate world of writing an essay outline , where each word, tone, and style choice has the potential to captivate readers and effectively convey ideas!

What Is a Tone in Essay: Its Importance in Conveying the Writer's Message

Essay tone, often referred to as the writer's voice or attitude, is a critical element in conveying the writer's message effectively. It's the emotional and stylistic quality of the writing style that shapes how readers perceive and engage with the content.

The choice of essay tone is akin to selecting the right brushstroke for a painting. It sets the mood and influences the reader's response to the text. The significance of essay tone lies in its power to:

• Convey Emotion: It can infuse creative writing with emotions, making it more relatable and engaging. For instance, a narrative essay may employ a personal and emotive tone to draw readers into the author's experience.
• Establish Credibility: In academic writing, a formal and authoritative tone lends credibility to the author's arguments and research. It signals to readers that the author is knowledgeable and trustworthy.
• Persuade: Persuasive essays benefit from a confident and convincing tone that encourages readers to adopt the author's point of view. This tone is often assertive and backed by strong evidence.

Variety of Tones in Essays:

Essays can employ a range of tones, each suited to its specific purpose:

• Formal Tone: Often used in academic writing, the formal tone is characterized by precise language, adherence to grammar and punctuation rules , and a respectful, objective approach.
• Informal Tone: This tone is conversational and approachable. It's suitable for personal essays, blogs, and other content where the writer wants to connect with readers on a more personal level.
• Academic Tone: Academic essays require a tone that reflects a high level of professionalism and objectivity. Clarity and a focus on evidence-based arguments are paramount.
• Persuasive Tone: A persuasive essay adopts a tone that is confident, assertive, and often passionate. The goal is to convince the reader of a particular viewpoint.
• Narrative Tone: Narrative essays employ a storytelling tone, drawing readers into a personal experience. This tone often incorporates elements of description and emotion.

Understanding Essay Types

In the world of academic writing, essays come in various shapes and sizes, each adhering to specific guidelines and conventions. Three of the most commonly used essay types are APA , Chicago , and MLA. Understanding these essay types and their unique characteristics is essential for crafting scholarly work that meets the expected standards.

It's important to clarify the specific style and requirements they need, as these three major styles have key differences in formatting and citation styles:

Key Differences in Formatting and Citation Styles:

• APA (American Psychological Association): The APA style is widely used in professional writing, particularly in social sciences and psychology. It emphasizes clarity and conciseness, with a focus on the author's name and publication date within in-text citations. The reference page lists sources in a structured format, including the author's last name and initials, publication year, title, source, and DOI (if applicable). APA also employs a unique title page format with specific guidelines for headings and subheadings.
• Chicago Style: The Chicago style is a versatile format used in history, literature, and some social sciences. It offers two citation systems: the notes and bibliography system and the author-date system. In the notes and bibliography system, footnotes or endnotes are used for citations, while the author-date system employs in-text citations. The reference list or bibliography is comprehensive, featuring detailed information about the sources used, such as publication place and publisher.
• MLA (Modern Language Association): MLA style is commonly used in the humanities, including literature and language studies. It utilizes in-text citations with the author's last name and page number, promoting brevity. The Works Cited page contains full publication details, including the author's full name, source title, publisher, and publication date. MLA places a strong emphasis on clear and consistent formatting, including guidelines for headers and margins.

Importance of Adhering to Prescribed Style:

Adhering to the prescribed style for each essay type is of paramount importance in academic writing for several reasons:

• Clarity and Consistency: Consistent formatting and citation styles make it easier for readers to locate and verify your sources. This enhances the credibility of your work.
• Respect for Disciplinary Norms: Different academic disciplines have established specific citation styles to meet the needs and expectations of their respective communities. Adhering to these styles demonstrates your understanding of and respect for disciplinary norms.
• Avoiding Plagiarism: Proper citation ensures that you give credit to the original authors of ideas, information, or phrases you incorporate into your work. This is vital for avoiding plagiarism and upholding academic integrity.
• Professionalism: Employing the correct style showcases your professionalism and commitment to producing high-quality scholarly work. It also facilitates collaboration and communication within your academic field.

APA Style Essay

An APA (American Psychological Association) style essay is distinctive in its characteristics and guidelines, primarily designed for social sciences and psychology disciplines. In the realm of academic writing, understanding the nuances of tone and voice is fundamental, and this is particularly true for APA (American Psychological Association) style essays. The choice of tone and voice in an APA essay isn't merely a matter of stylistic preference; it's a crucial element that shapes the communication of your research and ideas.

• Formal and Objective Tone: APA essays demand a formal tone that maintains objectivity throughout. This formality is crucial for establishing credibility and professionalism in the eyes of your academic peers and readers. It signifies that your work is grounded in rigorous research and analysis.
• Precision and Clarity: Precision is key in APA essays. The language should be clear and unambiguous. Aim for clarity in your expression, ensuring that your ideas are communicated with precision. Avoid vague or convoluted language that may lead to misinterpretation.
• Impersonal Voice (Third Person): One distinctive feature of APA style is the use of an impersonal voice, typically in the third person. This means that instead of saying, 'I conducted a study,' you would write, 'The study was conducted.' This choice reinforces objectivity and minimizes any personal bias or subjectivity in your writing.

Chicago Style Essay

A Chicago style essay, known for its flexibility and adaptability, is commonly employed in disciplines like history, literature, and some social sciences.

• Formal and Scholarly Tone: When crafting a Chicago style essay example, maintain a formal and scholarly tone. The language should be clear, precise, and devoid of colloquialisms or slang. Academic professionalism is of paramount importance.
• Authoritative Voice: To convey your arguments effectively, employ an authoritative voice that asserts the significance of your research or analysis. This voice communicates confidence in your findings and conclusions.
• Clarity and Rigor: Chicago style essays format should be characterized by clarity and rigor. Avoid ambiguity and vague language. Be meticulous in your research, ensuring that all citations and references are accurate and complete.

MLA Style Essay

An MLA (Modern Language Association) style essay is widely used in humanities disciplines, such as literature and language studies.

• Formal and Academic Tone: An MLA style essay maintains a formal and academic tone, suitable for scholarly discourse. The language should be precise and professional, avoiding colloquialisms or slang.
• Objective and Neutral Voice: MLA style essay example requires an objective and neutral voice. Present your arguments and analyses in a balanced, unbiased manner. Avoid injecting personal opinions or emotions into the text.
• Clarity and Simplicity: Clarity is central to MLA style. Express your ideas in a straightforward and comprehensible manner. Simplicity in language is preferred, making the essay accessible to a broad audience.

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Tone of an Essay Examples

Let's explore examples of different essay tones and demonstrate how they influence the reader's perception, as well as highlight the profound impact of tone on the overall effectiveness of an essay. Whether you're looking for business writing or dealing with casual colloquial language, understanding these tones is essential:

Formal Tone:

• Example: 'The research findings indicate a significant correlation between A and B, suggesting a compelling link that merits further investigation.'
• Influence on Perception: A formal style conveys authority, professionalism, and objectivity. Readers perceive the author as credible and the information as reliable.

Informal Tone:

• Example: 'So, you won't believe it, but this study totally shows that A and B are like best friends. Seriously!'
• Influence on Perception: An informal language establishes a conversational and approachable connection with readers. It can make complex topics more relatable but may be perceived as less authoritative.

Persuasive Tone:

• Example: 'Without a doubt, it's imperative that we take immediate action to address this pressing issue. Our future depends on it.'
• Influence on Perception: A persuasive tone instills a sense of urgency and conviction in readers. It encourages them to adopt the author's viewpoint or take action.

Narrative Tone:

• Example: 'As I stood there, the sun setting behind the mountains, I couldn't help but reflect on the journey that had brought me to this moment.'
• Influence on Perception: A narrative tone invites readers into a personal experience, creating an emotional connection. It can make abstract ideas more vivid and relatable.

Humorous Tone:

• Example: 'You know, trying to understand quantum physics is a bit like chasing a squirrel on roller skates - entertaining, but you're not sure where it's going.'
• Influence on Perception: A humorous tone adds levity and charm to the essay, making it engaging and memorable. It can break down complex subjects and ease tension.

The Impact of Tone on Overall Effectiveness:

The tone of an essay wields considerable power over its effectiveness:

• Engagement: A well-chosen tone captivates readers, drawing them into the narrative or argument. Engaged readers are more likely to continue reading and absorb the essay's content.
• Clarity: Tone can enhance or hinder clarity. A clear and appropriate tone ensures that the essay's message is easily understood, fostering effective communication.
• Credibility: Tone shapes perceptions of the author's credibility. A tone that aligns with the essay's purpose and audience enhances the author's authority and trustworthiness.
• Emotional Connection: The right tone can evoke emotions, forging a connection between the author and readers. Emotionally engaged readers are more likely to empathize with the essay's message.
• Persuasion: In persuasive essays, tone plays a critical role in influencing readers' opinions and decisions. A persuasive tone can make a compelling argument more convincing, whether it's in business writing or a personal reflection in your own voice.

Voice in an Essay

While tone and voice are closely related elements in writing, they serve different purposes and convey distinct aspects of the author's communication. As already discussed, tone refers to the attitude, emotion, or mood that the author conveys through their writing.

Voice, on the other hand, is the distinctive style and personality of the author that comes through in their writing. It encompasses the author's unique perspective, individuality, and way of presenting ideas. Voice is the author's 'writing fingerprint' that sets their work apart and gives it a distinct character. It's not just about the emotional or rhetorical attitude but also about the author's stylistic choices, word selection, and sentence structure. Voice in an essay remains relatively consistent throughout an author's body of work and is what makes their writing recognizable.

Active Voice Essay

In writing, active voice is a grammatical construction where the subject of a sentence performs the action of the verb. It's a straightforward and direct way to convey information, emphasizing the 'doer' of the action. Understanding when and how to use an active voice essay is crucial for maintaining clarity and engaging your readers.

When to Use Active Voice in Essays:

1. To Emphasize the Subject's Action:

• Use active voice when you want to emphasize the subject's action or the 'doer' of the action. This brings focus to the agent responsible for the action, making the sentence more engaging.
• Example : 'The scientist conducted the experiment.'

2. To Improve Clarity:

• Active voice typically results in clearer, more direct sentences. It eliminates ambiguity and ensures the reader can easily discern who is performing the action.
• Example : 'The company announced the merger.' (Active) vs. 'The merger was announced by the company.' (Passive)

3. To Make Writing More Concise:

• The active voice often requires fewer words, making your writing more concise and to the point.
• Example : 'She wrote the report.' (Active) vs. 'The report was written by her.' (Passive)

Passive Voice Essay

While active voice places the emphasis on the subject performing the action, passive voice in essays shifts the focus to the action itself or the recipient of the action. Understanding when and how to use a passive voice essay is essential for conveying information with a specific emphasis.

When to Use Passive Voice in Essays:

1. To Emphasize the Action or Object:

• Passive voice is useful when you want to emphasize the action, process, or the object receiving the action rather than the person or thing performing it.
• Example : 'The novel was widely acclaimed by critics.' (Emphasizes the acclaim)

2. When the Doer Is Unknown or Irrelevant:

• Passive voice can be employed when the identity of the 'doer' is unknown or irrelevant to the context.
• Example : 'The Mona Lisa was painted in the 16th century.' (The focus is on the painting's creation, not the artist.)

3. To Maintain Objectivity:

• Passive voice can contribute to an objective tone in academic or scientific writing by minimizing references to the author or researcher.
• Example : 'The experiment was conducted under controlled conditions.'

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What Tone Should an Argumentative Essay Have?

An argumentative essay should typically have a tone that is assertive, persuasive, and rational. It's essential to maintain a tone that conveys confidence in your argument while respecting opposing viewpoints. Avoid overly aggressive or emotional tones. Instead, focus on presenting well-reasoned arguments supported by credible evidence and maintaining a respectful and professional tone throughout.

What Tone and Style Is Used in Academic Writing?

In academic writing, the tone and style should be formal, objective, and professional. Whether you decide towrite one yourself, you should know that academic writing is characterized by clarity, precision, and adherence to established conventions. Avoid using first-person pronouns (e.g., 'I' or 'we') and maintain a third-person perspective. Additionally, follow the specific formatting and citation style guidelines relevant to your academic discipline, such as APA, MLA, or Chicago. The goal of academic writing is to communicate research and ideas clearly and objectively to an academic audience.

As a Final Word

In the world of essay writing, your tone, voice, and style are like paintbrushes on the canvas. They set the mood, making your writing come alive. Whether you're writing an argument, sharing a story, or diving into academics, knowing when to use active or passive voice and choosing the right tone can turn your writing into something truly special. It's the blend of these elements that gives your message power, connects with your readers, and leaves a lasting impression. So, use your tone and voice wisely, and let your words leave a mark in the hearts and minds of your audience.

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What is Active Voice? Definition, Examples of Active Sentences in Writing

Home » The Writer’s Dictionary » What is Active Voice? Definition, Examples of Active Sentences in Writing

Active voice definition: The active voice is a style of writing where the subject completes the action of the sentence.

What is Active Voice in Writing?

What does active voice mean? In the active voice, the subject always “does” the action of the sentence. Chronologically, the subject will come before the verb in the sentence.

Most writing occurs in the active writing voice, as it is generally clearer and more concise.

Examples of Active Voice:

• Lexi mows the lawn.
• Corinne makes pancakes every Sunday.

In each of these sentences, the subject comes before the verb and object . The subject is “doing” the verb in the sentence. This is called the active voice.

• Lexi>mows
• Corinne>makes

How to Form the Active Voice

Whether or not the subject is the first word of the sentence, active voice is used if the subject “does” the verb.

How to Write in Active Voice:

• I>walked

In each of these sentences, the subject is “I.” “I” is doing the action “walked.” “I” chronologically comes before the verb, walked.

How To Form an Active Voice Sentence:

• Start with a subject.
• Add a verb (after the subject).
• Add any modifiers.

Active Voice Example:

• Grandpa>arrived
• Yesterday, Grandpa arrived at our house.

Active vs. Passive Voice: What’s the Difference?

The active voice occurs when the subject “does” the action of the sentence.

The passive voice occurs when the action is done by what seems like it should be the object.

Passive Voice Example:

• The book was written by Jeanette Walls.

It seems like Jeanette Walls should be the subject.

• Jeanette Walls wrote the book.

However, book , which should be the direct object, is actually the subject of the sentence. A good key indicator for passive voice is a “to be” verb and past participle.

Active Voice vs. Passive Voice:

• Jeannette Walls wrote the book. (active)
• The book was written by Jeanette Walls. (passive)

Should You Avoid Passive Sentences?

The active voice is used more often in writing. However, the passive voice may also be used for stylistic purposes. Furthermore, some phrasings (like “the book was written by”) are more common or acceptable in the passive voice than in the active voice.

Writing in the active voice is more concise, clear, and direct than the passive voice.

It should be noted that strictly writing in the passive voice is not acceptable. Writers who use the passive voice do so intentionally to communicate their purpose.

Active Sentence Examples

Active Example:

• Pete Wilson cut more than $1.9 billion from the 1998-99 budget approved by the Legislature. – The Sacramento Bee

Here’s how it would look as a passive sentence,

• More than $1.9 billion was cut by Pete Wilson from the 1998-99 budget, which was approved by the Legislature.
• Carolina Panthers quarterback Cam Newton ran the ball in for a third-quarter touchdown and did some dances that predate his existence on the planet by a couple of decades. – The Washington Post

Let’s take a look at that as a passive sentence,

• The ball was ran in for a third-quarter touchdown by Cam Newton, who did some dances that predate his existence on the planet by a couple of decades.

In many cases, active sentences are a better option in writing—especially news writing. The first example is especially clumsy written in the passive voice.

Exercises with Passive and Active Voice

• The chicken crossed the road.
• The role of Julius Caesar was acted by Orson Welles.
• My favorite song is sung by Whitney Houston.
• My dad purchased wood to build a new pergola for our backyard.
• The shoes were made in Spain.

Summary: What is an Active Voice?

Define active voice: the definition of active voice is when the subject performs the verb of a sentence .

The active voice is the most common type of writing. It occurs when the subject comes chronologically before the verb and the subject is the thing “doing” the action of the sentence. In active sentences, there is little confusion about which words are the subject, verb, and object.

The Essay: History and Definition

Attempts at Defining Slippery Literary Form

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

"One damned thing after another" is how Aldous Huxley described the essay: "a literary device for saying almost everything about almost anything."

As definitions go, Huxley's is no more or less exact than Francis Bacon's "dispersed meditations," Samuel Johnson's "loose sally of the mind" or Edward Hoagland's "greased pig."

Since Montaigne adopted the term "essay" in the 16th century to describe his "attempts" at self-portrayal in prose , this slippery form has resisted any sort of precise, universal definition. But that won't an attempt to define the term in this brief article.

In the broadest sense, the term "essay" can refer to just about any short piece of nonfiction  -- an editorial, feature story, critical study, even an excerpt from a book. However, literary definitions of a genre are usually a bit fussier.

One way to start is to draw a distinction between articles , which are read primarily for the information they contain, and essays, in which the pleasure of reading takes precedence over the information in the text . Although handy, this loose division points chiefly to kinds of reading rather than to kinds of texts. So here are some other ways that the essay might be defined.

Standard definitions often stress the loose structure or apparent shapelessness of the essay. Johnson, for example, called the essay "an irregular, indigested piece, not a regular and orderly performance."

True, the writings of several well-known essayists ( William Hazlitt and Ralph Waldo Emerson , for instance, after the fashion of Montaigne) can be recognized by the casual nature of their explorations -- or "ramblings." But that's not to say that anything goes. Each of these essayists follows certain organizing principles of his own.

Oddly enough, critics haven't paid much attention to the principles of design actually employed by successful essayists. These principles are rarely formal patterns of organization , that is, the "modes of exposition" found in many composition textbooks. Instead, they might be described as patterns of thought -- progressions of a mind working out an idea.

Unfortunately, the customary divisions of the essay into opposing types --  formal and informal, impersonal and familiar  -- are also troublesome. Consider this suspiciously neat dividing line drawn by Michele Richman:

Post-Montaigne, the essay split into two distinct modalities: One remained informal, personal, intimate, relaxed, conversational and often humorous; the other, dogmatic, impersonal, systematic and expository .

The terms used here to qualify the term "essay" are convenient as a kind of critical shorthand, but they're imprecise at best and potentially contradictory. Informal can describe either the shape or the tone of the work -- or both. Personal refers to the stance of the essayist, conversational to the language of the piece, and expository to its content and aim. When the writings of particular essayists are studied carefully, Richman's "distinct modalities" grow increasingly vague.

But as fuzzy as these terms might be, the qualities of shape and personality, form and voice, are clearly integral to an understanding of the essay as an artful literary kind. 

Many of the terms used to characterize the essay -- personal, familiar, intimate, subjective, friendly, conversational -- represent efforts to identify the genre's most powerful organizing force: the rhetorical voice or projected character (or persona ) of the essayist.

In his study of Charles Lamb , Fred Randel observes that the "principal declared allegiance" of the essay is to "the experience of the essayistic voice." Similarly, British author Virginia Woolf has described this textual quality of personality or voice as "the essayist's most proper but most dangerous and delicate tool."

Similarly, at the beginning of "Walden, "  Henry David Thoreau reminds the reader that "it is ... always the first person that is speaking." Whether expressed directly or not, there's always an "I" in the essay -- a voice shaping the text and fashioning a role for the reader.

Fictional Qualities

The terms "voice" and "persona" are often used interchangeably to suggest the rhetorical nature of the essayist himself on the page. At times an author may consciously strike a pose or play a role. He can, as E.B. White confirms in his preface to "The Essays," "be any sort of person, according to his mood or his subject matter." 

In "What I Think, What I Am," essayist Edward Hoagland points out that "the artful 'I' of an essay can be as chameleon as any narrator in fiction." Similar considerations of voice and persona lead Carl H. Klaus to conclude that the essay is "profoundly fictive":

It seems to convey the sense of human presence that is indisputably related to its author's deepest sense of self, but that is also a complex illusion of that self -- an enactment of it as if it were both in the process of thought and in the process of sharing the outcome of that thought with others.

But to acknowledge the fictional qualities of the essay isn't to deny its special status as nonfiction.

Reader's Role

A basic aspect of the relationship between a writer (or a writer's persona) and a reader (the implied audience ) is the presumption that what the essayist says is literally true. The difference between a short story, say, and an autobiographical essay  lies less in the narrative structure or the nature of the material than in the narrator's implied contract with the reader about the kind of truth being offered.

Under the terms of this contract, the essayist presents experience as it actually occurred -- as it occurred, that is, in the version by the essayist. The narrator of an essay, the editor George Dillon says, "attempts to convince the reader that its model of experience of the world is valid." 

In other words, the reader of an essay is called on to join in the making of meaning. And it's up to the reader to decide whether to play along. Viewed in this way, the drama of an essay might lie in the conflict between the conceptions of self and world that the reader brings to a text and the conceptions that the essayist tries to arouse.

At Last, a Definition—of Sorts

With these thoughts in mind, the essay might be defined as a short work of nonfiction, often artfully disordered and highly polished, in which an authorial voice invites an implied reader to accept as authentic a certain textual mode of experience.

Sure. But it's still a greased pig.

Sometimes the best way to learn exactly what an essay is -- is to read some great ones. You'll find more than 300 of them in this collection of  Classic British and American Essays and Speeches .

• What is a Familiar Essay in Composition?
• What Does "Persona" Mean?
• What Are the Different Types and Characteristics of Essays?
• Rhetorical Analysis Definition and Examples
• What Is a Personal Essay (Personal Statement)?
• The Writer's Voice in Literature and Rhetoric
• Point of View in Grammar and Composition
• What Is Colloquial Style or Language?
• What Is Literary Journalism?
• Definition and Examples of Formal Essays
• What Is Expository Writing?
• The Difference Between an Article and an Essay
• First-Person Point of View
• What Is Tone In Writing?
• What is an Implied Author?