What is a unique writing voice?
A unique voice is the distinct personality and style that shines through your writing. It reflects your perspective, tone and rhythm, making your work recognisable and engaging. (I once read a novel where the voice was so strong, it felt like the author was chatting right beside me.)
Examples:
- The witty and conversational style of David Sedaris
- The poetic and haunting tone of Toni Morrison
- The sharp and humorous voice of Terry Pratchett
Tips:
- Write honestly and without trying to imitate others
- Let your personality colour your language and ideas
- Read widely to discover what resonates with you
Further reading: The Writer’s Voice by Al Alvarez
How do I find my unique voice?
Finding your voice takes time and experimentation. Writing regularly and reflecting on what feels natural helps you uncover your authentic style.
Examples:
- Keeping a journal to explore different tones
- Writing in different genres or formats
- Seeking feedback from trusted readers
Tips:
- Don’t be afraid to break rules that don’t suit you
- Embrace your quirks and unique perspectives
- Practice writing without self-editing first drafts
Further reading: Bird by Bird by Anne Lamott
Why is a unique voice important?
A unique voice sets you apart in a crowded market and helps readers connect emotionally with your work. It builds trust and makes your writing memorable. (There’s nothing more satisfying than an author whose voice feels like a good friend you’ve known forever.)
Examples:
- Memoirs that feel deeply personal and relatable
- Blogs where the writer’s humour shines through
- Fiction that captures a distinct worldview
Tips:
- Be consistent with your voice throughout your work
- Use voice to convey mood and character
- Allow your voice to evolve naturally over time
Further reading: On Writing by Stephen King
Can voice change depending on genre or audience?
Yes, voice can adapt to suit different genres or readers while still being recognisably yours. A humorous blog post might have a different tone from a serious essay but share underlying personality. (Why not surprise everyone by writing a dark thriller in the voice of a cheerful narrator?)
Examples:
- Lighthearted voice in children’s books versus formal tone in academic writing
- Conversational style in personal essays versus polished voice in journalism
- Varied voices across different characters in fiction
Tips:
- Understand the expectations of your genre and audience
- Adjust tone while maintaining core elements of your voice
- Experiment and seek feedback on your voice’s effectiveness
Further reading: The Art of Fiction by John Gardner
How can I develop my voice further?
Developing your voice is an ongoing process involving reading, writing and self-reflection. Embrace feedback but stay true to your authentic style. (I once thought my voice was fixed until a mentor helped me uncover new layers.)
Examples:
- Revising work to strengthen voice and clarity
- Writing in different settings or moods to explore range
- Joining writing groups for support and critique
Tips:
- Keep a writing journal to track your voice development
- Read your work aloud to hear your unique rhythm
- Stay curious and open to growth
Further reading: Writing Down the Bones by Natalie Goldberg
Famous examples of writing voice
1. Jane Austen
Jane Austen’s voice is witty, ironic, and sharply observant of social manners. She often critiques societal norms with subtle humour that exposes human folly. In Pride and Prejudice, she opens with her famous line: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” This immediately establishes her ironic tone and her ability to poke fun at social conventions. Later, she writes with playful commentary on character: “Elizabeth, as they drove along, watched for the first appearance of Pemberley Woods with some perturbation; and when at length they turned in at the lodge, her spirits were in a flutter.” Here, Austen combines narrative voice and character perspective, blending internal thought with external description. Her dialogue sparkles with rhythm and subtle humour, as when Mr Darcy says: “I cannot fix on the hour, or the spot, or the look, or the words… all I know is that I have never been so bewitched by anyone as I am by you.” Austen’s writing voice is unmistakably elegant, ironic, and attentive to social nuance, inviting readers to laugh while reflecting on human behaviour.
2. Charles Dickens
Charles Dickens’ writing voice combines vivid characterisation, rich description, and moral purpose, often infused with humour and pathos. In Oliver Twist, he writes: “Please, sir, I want some more.” This simple line conveys innocence, desperation, and social critique simultaneously. Dickens often uses exaggerated character traits to expose social injustice, as with Mr Bumble: “The law is a ass—a idiot.” His descriptions of setting are immersive: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness…” (A Tale of Two Cities), grand, rhythmic, and immediately compelling. Dickens’ voice alternates between warmth and scathing critique, combining humour, sentiment, and moral observation in a way that captures both the tragedy and absurdity of life. His prose is emotive yet precise, and he frequently addresses the reader directly, creating intimacy and engagement: “Have you ever seen a child so full of joy that the world seems to stand still?” Dickens’ distinctive style lies in balancing social commentary with memorable, larger-than-life characters and evocative narrative.
3. Virginia Woolf
Virginia Woolf’s voice is lyrical, introspective, and psychologically immersive, often exploring consciousness and perception. In Mrs Dalloway, she writes: “She had the perpetual sense… of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day.” This captures her stream-of-consciousness technique, blending thought, feeling, and perception seamlessly. Woolf frequently shifts between characters’ inner lives, as in To the Lighthouse: “For now she need not think about anybody. She could be herself, by herself. And that was what now she often felt the need of—to think her own thoughts.” Her sentences have a rhythmic, almost musical quality, reflecting the flow of thought. Woolf’s writing voice combines intimacy and introspection, creating a deep empathy for her characters while experimenting with form and time. Her prose invites readers to inhabit the mind of a character fully, revealing the subtleties of human consciousness with poetic sensitivity.