Develop Your Authorial Voice: Craft a Unique Writer Identity | Barbara Vance | Skillshare

Develop Your Authorial Voice: Craft a Unique Writer Identity

Barbara Vance, Author, Illustrator

Develop Your Authorial Voice: Craft a Unique Writer Identity

Barbara Vance, Author, Illustrator

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10 Lessons (47m)
    • 1. Introduction

    • 2. Defining Voice

    • 3. Exercise 1: Perspective in Writing

    • 4. Tone in Writing

    • 5. Exercise 2: Learning from Writing that Inspires You

    • 6. Exercise 3: What do you want to be

    • 7. Exercise 4: What do you stand for

    • 8. Exercise 5: The Talk-My-Story Exercise

    • 9. Exercise 6: Write Like Your Inspiration

    • 10. Exercise 7: Stream of Consious Writing

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About This Class

Do you have author's who seem to have such a unique voice that, even if their name were not on a book you would know it was written by them?

Do you feel like you don't have a solid handle on your own voice, that you would like to "write like ______" but that you also do not want to simply imitate them?

This class is designed to help you discover who you are as a writer, who you WANT to be as a writer, and whose work inspires you. Through a series of exercises we will examine what unique attributes you bring to your writing, what you love about others' works, and how to blend these things into a magical voice that only you can have. 

I am so excited to bring this to you; please leave a review if you found it helpful.

Happy Writing!


Meet Your Teacher

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Barbara Vance

Author, Illustrator



Barbara Vance is an author, illustrator and educator. She has a PhD in Narrative and Media, has taught storytelling and media production at several universities, and has spoken internationally on the power of storytelling and poetry. Barbara’s YouTube channel focuses on illustration and creative writing.

Her poetry collection, Suzie Bitner Was Afraid of the Drain, which she wrote and illustrated, is a Moonbeam Children’s Book winner, an Indie Book Award winner, and was twice a finalist for the Bluebonnet Award. Its poems are frequently used in school curricula around the world.

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1. Introduction: hi, everyone, and welcome to this class on how to find and develop your authority. Oh, voice. We all have those authors whose work we love, and it's completely identifiable. If if you didn't put their name on it, you would still know it was their work because of their language, their perspective, the quirks, voice, all of these things that make you adore that story, or that authors works. What happens a lot when we're trying to grow as writers ourselves is that we have thes authors whose works we are in love with, and those authors seem to have such a strong, powerful, unique voice. And then we have a lot of pressure on ourselves to have a unique voice as well and to say What is my voice? And I don't know what my voice is and how do I find my voice? And so there can be a lot of anxiety around the concept of it, And then you add to the fact that you are trying to learn the craft of writing as well, and that can often come with what seems like a lot of rules. Do this don't do this is how you developed characters. It's how you don't and so you find yourself in this situation where you don't want to sound like everybody else. You want to employ the best practices of writing, that you don't want them to confine what you see as your voice or the potential that could be your voice. And you're looking at all this inspiration around you and you're trying to say to suffer. I like this author, and I like this author and I like this author and there's this peppery of people I like. How do I I take all of these things and then from in all of this, find who I am? How do I write? So that I'm not writing like everyone else to that I'm not writing like my inspiration, but that I am taking the best pack practices that riding offers and I'm taking the unique aspect of writers are like and then tweaking those changing those and making them my own. That's what this class is designed to help you do. We're going to talk about what voice is, and then I'm going to help you run through a series of exercises that you can do that will help you. Ideally go move on the path to finding what your authority voice is. My name is Barbara Vans. I am an author of creative writing Communications and communicating creatively across mediums and also in business. So I have a lot of experience with this. I've been fortunate to work with quite a lot of creatives in their own artistic endeavors, and I'm so excited to be here with you today. If you have not signed up on my YouTube channel or followed me on social media, I highly recommend that you do that because that is the best way to keep up with me. I do have other courses and special downloads and resources that are not available here that you can find if you go to my website to my YouTube channel. So I encourage you to do that also up front. If you enjoy this video, please do leave a review that's tremendously helpful for me. It is also helpful for your peers. The reviews you leave allow me to make more videos for you. So if you enjoy these video's leaving, a review helps me to be more productive and help make more videos for you. Having said all of that, I am so excited. Let's get started and talk about finding your authority all voice. 2. Defining Voice: three things you want to consider about authorial voice is that one You have one. We all have one to that voice is always changing the authority. A voice you have today will be different than the authority, a voice you have a year from now, five years from now, 10 years from now, because authorities voice includes so many things, your perspective, your language, your outlook so you. As you grow as a person, your authority voice will change as well. The third important thing to remember about voice is that it's not something that you can just poof produce automatically. So all of that stress you have right now about what is my voice and should I have a voice and I don't have a voice and my voice isn't clear and unique. Don't fret if that's how you feel when you're starting out. You have a voice, but it's not developed. You are growing as a writer and just like new, a little one has to learn to crawl and to walk and to run. You learn these things as an author, so if you're just starting out on your Thor eel journey, you won't necessarily have a strong voice. You're you're you're getting your foreal sea legs if you've been writing for a while and you still feel like you don't have a voice that can happen to. And it very often happens because finding a really finding what you think is a solid, authoritative voice for you can doesn't have to but can take some investigation. There are certainly writers who, just by virtue of their influences or the reading that they've done or just their natural inclinations, have a very strong voice to begin with. But many, many riders do have to spend some time thinking about what that voice is, and a lot of that is being an active reader, which, if you, if you watched my other courses, you know, I've talked about voice matters because your voice will affect the story. You choose to tell how you tell that story, the characters you choose, the perspective you choose and how you sort of contemplate and perceive the events happening in your narratives. Your authority voice involves how you make the readers feel about the things that you are writing, so it is well worth it to give some time to figuring out. What is the voice you want to have? And how do you find that? If you grew up in a big city in 1995 then you're going to tell a story differently than someone who grew up in a small town in 1947. You both could be writing a story about a farm girl who falls in love and becomes a postmistress or something. But if you lived in the big city in 1995 that's going to be different than telling that story in a small town in 1947. So you're bringing when you do your authority voice you're bringing yourself that is you that you're putting into this story authority. A voice is not, I repeat, not point of view now. Sometimes your presence as an author is more obvious and is more present in a narrative because of the point of view that you choose. But authorities voice is just as present just is important in 1/3 person, omniscient as it is in a first person perspective, where the character is the one telling the story. Both of those have foreal voice behind them, so you want to really take time to understand that this is you as an author that you are developing and how you're going to put that into practice. Charles Dickins writes his stories in many times his best ones. All of a twist. David Copperfield, Great expectations. All three of these are written in the first person perspective, but Dickins authority voice is so strong that I could pick up any book. That means it was a book written like that. You pick it up and you know, this is a Charles Dickens story. That's what I mean by a Tory. A voice. Yes, David Copperfield is telling that story. Pip is telling that story. All of a twist is telling his story, but the story a voice is Dickins. So that's what we're working to develop that identifiable thing that is you, your it as a writer. So let's try to define a bit here. What is an authority? A voice. Now I will tell you there really is no specific definition. There is no magical definition. There's no magical list of check boxes that says this is what on earth Auriol voice is. It is this combination of things you're writing style, the tone in which you tell that style, your sentence structures, how you write and the perspective you bring. When you do your writing, all of these things kind of combined. They congealed to make what we consider authority. Voice. It is your unique way of looking at the world, and it's your unique way off phrasing things and of describing things and perceiving things to people can look at a tree, and one person might look at it with childlike wonder. And one person might looked it with kind of the wisdom off someone who's grown up taking care of trees. Those experiences will affect curatorial voice. Both could be lovely. What's your perspective? Which means that voice includes mechanics. It includes your sentence structures, the words you use, the language. You use the complexity of the length of your paragraphs. All of these sort of grammatical and sentence building level aspect is to writing. Those are a part of your thigh Auriol voice, which is why, when you're reading authors, you like, you don't want to just look at the plots. You don't want to just say, Well, I like this story line. You want to identify writers who are utilizing language in a way that is attractive to you . Words are your medium. They are your clay, they are your paint, and you need to get to know how to use them. Support of the adventure of developing a foreal voice is learning your medium, learning how it works. If you've never used clay before or something and you put it on a potter's wheel, you turn that Potter's wheel on. You'll find you have to learn how to use clay on that wheel because the wheel can be moving very fast and even if it's not, you just sort of touched the clay and it moves. And so you you have to learn. How do you use that clay? That's true words. You have to learn what happens when I make sentences with longer words. What happens when I make sentences with shorter words? What happens when I build sentences that have a lot of soft vowels? The bees and the sounds as opposed towards that, have a lot of very staccato, specific short noises. Learn your words and you will start to develop. What that voice is a part of part of a voice is 3. Exercise 1: Perspective in Writing: Let's take a moment and talk about perspective. As I mentioned this before, Your voice is not your points of view. Several people can observe the same event and walk away from it, thinking different things. It might be raining outside, and I might say to myself, Great, it's a great day to stay inside and read a book where, as you might say, I want to get aside. I'm bicycle. Same event two different experiences off that event. You bring your own life experiences, your own perspectives, your own understandings of the world to your writing. So someone who is more interested in fashion or who has a background in fashion design if she's or he is writing a novel is might be more likely to include descriptions of outfits and talk about fabrics and talk about colors that people are wearing because that's part of their background. And they bring that to their stories. Someone who's been in the military is going to bring that experience and focus on likely different things because of her experiences or his experiences. So when you're thinking about this perspective, take time to think for yourself. What are the things that make me unique. This is where I would recommend my first exercise to you. You can do these exercises that we go through this class in any order. But the first thing that I would think about if you're totally lost on voice if you really not sure about it, is to make a list off what you would consider the unique, your unique selling points and the things that are special to you. The things that stand out to you that make you you. Now I do have a resource for you that lists all of the exercises for this class. So don't feel like you have to write this down. I do recommend that you print that resource and you can follow along with this class and then use it to actually complete the exercises. But the point of this 1st 1 is to think about what are the things that you value about yourself that you like about yourself, that you would like to infuse in your writing or that you think are natural pieces of your writing? This could be anything from the way that you talk the way that you write. Some people have a more old fashioned. Been to the writing. Some people are more action oriented. Make a list of those things. If you have a background in business, make a list of that. I I bring this in. I bring that in. And what I recommend doing is when you start that list, don't discriminate against the things that you maybe don't care about yourself, but that are present. And then the things that you like this first list is not about what do I like about myself ? Only it's just how am I unique. So think about the things that people say about you. Oh, you're so funny. Or you always have an interesting sort of philosophical perspective or things like that. Or if you are someone who tends to be sort of negative rather than positive. Or if you someone who tends to be optimistic. It's sort of the personality assessment of yourself, and you want to make a list of all of these things, and that would be part one of this exercise. The second part of it is then to go through that and say, Well, now, which bits of this do I like and want to infuse in my riding and share with the world. What are the pieces off of me that I think I either see reflected in my writing already that I want to do more off or I would like to see reflected in my writing and should do more off. So that's the first exercise. It's just about assessing you because you are the author. So we're going to find your voice. We have to get to know you a little bit, and you need to spend some time thinking about you and who it is you are, And who did you want to be on the page? 4. Tone in Writing: the second thing I'd like to talk about when it comes to voices, tone tone is the feeling of your writing, and it's something that can change throughout this story. It doesn't have to, but it can. Depending on the narrative things that are happening. A tone can be sarcastic. It can be hopeful. It can be pessimistic. It can be very serious. It can be sort of light hearted. Could be all kinds of things. Different writers will have different perspectives. E. B. White, who is just one of my favorite writers, especially his essays, He Be white, has a bit of sort of dry humor, but it's a very kind. Dry humor is not cruel and negative, but he does observe this sort of idiosyncrasies and oddities of life. And he also loves nature, and he has such an awareness of it in a perception of it and writes very sensory. So he has a very there's an optimism to it. But there's a realism to it, and that is lovely for Hiss writing. That's his tone. So tone. Think of it as you know, think of J. D. Salinger and Catcher in the Rye. That's very sarcastic and that one is the first person perspective story and holding coalfield in that is the character. He is sarcastic, and he is a bit of a pill, and in that situation in that story, his a four e a voice, even though voice is not the perspective. Thea Thor E. A voice itself pushes that sarcasm. You really feel that sarcasm in it. Having said that, when you're reading the story, you don't necessarily agree with Holden Caulfield. You don't necessarily feel like, Well, yes, yes, yes, Often you read it, and you think that he is a bit of a pill and that he isn't always very nice, and he is a little bit immature. That's the story, a voice happening. That's the choice you're making. As an author. You are setting up a different tone. You are shaping a first person perspective story in such a way that the reader has that his or her own perceptions and judgments off Holden Caulfield that aren't necessarily the sore chasm on the angst that he demonstrates. Just be very careful. It's bearing nuance, but you want to find that tone that is yours, just like I was talking about with White, where he has this sort of hopeful but dry wit. That's his tone. Charles Dickins. If you read any of his major works, particularly David Copperfield, Great expectations, all of a twist, all three first person perspectives those all have on interesting way in which the characters have somewhat of a ny of tae. To them, there is a kindliness to them, a nun awareness that is growing, that all coming of age. And so we see that tone change a little bit. There's a great honesty to the writing itself, and the authority voice in general is deeply honest in those, so that when a character is not a good character, the author tells us that we really feel in the tone of a Charles Dickens story, that the author is being honest and up front with us, and it actually has a good handle on it that the office assessment of people is right. So that is another way to look at tone. Tone is all about how you want your story experienced. You could write a heist story, and you could make it comedic and funny, or you could make it very serious and have a lot of gravitas. And if you think about movies or books you've read, there are lots of heist books that are very gritty and just frightening. And then there are some that are comedic and funny, and then they are somewhere in between. So it's not plot. It's how you want again, feeling it's how you want your readers to feel and that sense of story that you want to have. Let's look at an example. If you were describing a girl finding that she was not accepted to the Sokrati, you might say her face fell and she fought back tears. Or you could say she shrank and her seat like a party balloon. Losing air. Now, in both of these cases, Sheas sad, but once is very serious, and one, while serious, has a mildly more humorous tone to it. So you can be very subtle with these, but that's the sort of difference you're looking for. And tone development is so important because readers need to feel your energy. They need to feel your happiness, your disappointment, your jealousy, etcetera and tone is port of how you do that. It's not just a matter of saying Candace was disappointed. The way you tell me that Candace was disappointed is going to color my experience of that story. 5. Exercise 2: Learning from Writing that Inspires You: all right the rest of this class, we're going to focus really heavily into some exercises you can do. I'm so excited for this because if you take the time to do the exercises in this class, you will learn things about yourself as a writer, and you will learn things about the writers whose work you love. So I'm excited because I really think it's so much fun to do this kind of analysis. The second exercise is all about comparisons of inspiration, the authority voice you have now and the inclination to earth Auriol voice that you have in you. It doesn't come out of nowhere. It's a product of your experiences, both your life experiences, but also very much the experiences of authors works you love, whether we realize it or not. Those things have come in and influenced us and continue to influence us. But we can be proactive about this. You don't have to just say, Well, I'm just a product of my experiences, so I'll just keep on having experiences and then my writing will change. No, no part of voice. It's so fun is that you can be proactive about changing it. It's not like just sort of bodily growing pains. When you don't have a say over how toll you are or how short you are or how quickly you develop or how you slowly you develop. You do have a saying, your authority voice. You can do things to speed it up. You can't make it magically appear, but you can encourage it along, and that's what this will do. Therefore, this exercise is all about looking at who's works you love. We've already examined you as a person. Now let's look at your influences and your inspiration. So this exercise I'm asking you to think about whose work you like and why do you like it now? You can do as many as you would like, but but this assignment, I'd like you to look at 3 to 5 inspirational writing sources. These can be books they can, the article writers that can be blog's. They can be screenplay writers. It's really going to depend on the kind of writing you want to do. But if you are interested in, say, writing a novel, don't limit yourself just to novelists. If you don't want to. If you want to be a novelist, But there happens to be a playwright whose work you just love and can't get enough of. It's perfectly fine to choose a playwright as one of your inspirations for the 3 to 5 that you're choosing. Likewise, a newspaper article or someone who writes screenplays. Don't limit yourself just to your medium if there are people who stand out outside of it. Part of what can be a challenge for people writing voice and where people start to feel trapped is because they limit themselves too much. Ah, lot of times the authors whose voices are so interesting is because they've gotten outside of the narrow writing world. They've gone and been people who had other professions. They were military men, they were ballet dancers. They were they were these different things, and then they brought those unique experiences to their riding. What happens is if you don't look outside of that and and sort of see these outside experiences or or look outside of your medium of choice to other people's mediums of choice , other people's voices, you confine yourself and that's port of the restrictive feeling that one can have when you are trying to develop your voice. So 3 to 5 books, articles riding something like that, It really I recommend it being word based. But it doesn't have to be. If there is someone whose music just really resounds to you or something, then take that. You might have to shift some of the questions you're going to use to analyze it, but you are certainly welcome to do that and the things that I want you to look at our and I have my notes here you're to look at their voice, their perspective there tone, the structure of their sentences, their word choice. How do they use humor? How do they utilize character and setting descriptions? How much are they describing of their characters? What are they describing? Is this someone who writes a lot about fashion? Is this someone who pays a lot of attention to facial expressions? Is this someone who doesn't actually tell us much about character descriptions? Likewise, setting. You want to observe all of these things? How do they handle dialogue? And when I say that, I mean, how much of it is there? How is it listed on the page? Are they using a lot of said's or is it just a quick back and forth? I have a course on dialogue, So if you haven't watched that I recommended, it will help you answer this question. What is the way that they see the world? Are they optimistic? Are the pessimistic Do they have a focus on nature? Do they have? You know, what is their unique vision, their unique perspective? That way. What kinds of themes and messages do you see, repeated or brought up a lot? What they're sort of pet, um, themes, pet messages. And I want you to describe their writing. Five adjectives. You only have five. You must limit yourself five adjectives to describe each person's writing, and then you must answer. What do you most enjoy about their work? End of anything. What do you not enjoy? What do you least enjoy? What would you change about their work? So to once or a few of these in brief and I'm not going to go through all of them, But you might say something like, Well, I've really liked the short, quick sentences of Ernest Hemingway. I like the emotional sensitivity in Proust. I like the attention to nature and e b. White. You can be very, very specific about things that you like, but you want to figure out what sorts of things you like or what things you don't like. If you don't like the short sentences or something like that, you were to go through this list and again. All of this is on the assignment sheet for the class to download it. But you to go through these, and you should do this again for 3 to 5 different authors. Don't pick the same ones 3 to 5 different ones. Once you've done that, go back through and look at your 3 to 5 and find out what similarities are running across these. What are the threads across them that you like? If you find a situation when you say, Well, I love Proust so long, wordy sentences and I like Hemingway's short, choppy sentences. You might very well enjoy both of those, but then you're at a crossroads, and that makes you say, Well, if I were going to write which way where I want to write, and that could be something that you practice and we'll get there later on ways to sort of deal with discrepancies when you don't have the similarities. But where you do see similarities, highlight those or make a list of those and say these seem to be things that I really, really like. The other thing that you're going to want to do is when you do that and you really identify the things you really like about these authors, things you would like to emulate, you're gonna want to go back and read those authors focusing on those things. When we first read a story, we're focused on the plot and our emotions with it. As we go and read it again and again, we're able to get in all kinds of different analyses of it. But you want to read it specifically with an eye out for the things they're doing that you like, always asking yourself, How did they do this if use say, I just love how I walk away from a Navy white story, feeling better about the world. Then when you're reading his latest essay or what have you you want to say, How is he doing this? Why do I feel better about the world right now? So what this exercise will do will help you focus on the things that you like. Help you start to develop the list of things, that of ways you want your voice to be. And then it also gives you your sort of marching orders for then going out and re reading. Re experiencing these authors in light of this with a focus on these things, that's your next exercise. 6. Exercise 3: What do you want to be : this third exercise builds on exercises two and one. So now you have a list of things you really like about yourself or know about yourself. You have a list of things that you admire and like and have assessed about works you already enjoy very much so the next thing is to release that start to identify. Now that I know who I am and who these people are, What do I want to be? This means delineating very specifically things you analyzed about the riders you just went through. So you want to sit there and say, Well, what do I think? Based on all exercises one and two, what do I want my style to be? What do I want my tone to be? My impact. My perspective. If you people had to describe your style in five words, what would you want them to say? How do you want them to feel when they walk away from your work? Sometimes we see a great film or we really great book, and we think it's wonderful, but it's depressing its door. Sometimes it's magical and uplifting. Sometimes it's so funny. All of these things can be great But what do you want people to say? If they only had five words to describe your writing, what would they say? The goal of this exercise is to begin a list of things that you're saying. This is the identity that I at the moment and again it always develops. But this is the identity of the moment that I kind of want to live with. Part of the reason you want to do that is because, as you write and you start to feel lost about your tone, which can happen, this list were making will be a resource for you to go back to to help get you off back on track. The next exercise will help you with that as well. So let's move on to exercise four. 7. Exercise 4: What do you stand for : in exercise three, we began to develop. Who did you want to be as a writer? This exercise expounds on that with a few specific questions. All of these questions are about what you believe in what you stand for. So I want you to sit down and say, What do you love? These can be people. Thes can be experiences. These can be It could be anything you can say. I love fashion. I love cake. I love the weather. I love sarcastic humor. I love really dark stories. I love bravery, I and my bravery. You know, anything, anything at all and just do a big dump of things. Just let it go. Just brainstorm. Don't hold it in your just writing down everything. Anything you can think of that you enjoy and get a lot out of. The second question is, what do you believe it? So you can believe in democracy. You can believe in being fair to everyone. You can believe that lives not fair, and people shouldn't expect it to be. Now we all believe a lot of things about a lot of things, but if you were, say, these are my primary things that I believe. I believe we should be kind to everyone. Or I believe we should be responsible with our finances, whatever. What are some of the primary top things that you really believe in? Because thes things often get worked into your writing. So it's a good idea to sort of think about what those things are. The's questions here in this exercise will very much help you with the understory to your writing. If you watched my other courses, particularly on plot development, then you know that writings have surface stories and under stories. And so the surface story is all of the events. But the understory is with the writing is about, and very often that understory is connected with thes thes issues that we're talking about here, your beliefs, your loves, what you think the world should be like in an ideal way. So the third question for this is what inspires you. What sorts of things make you motivated and happy? I could be everything from a beautiful day. I love to be outside if I'm outdoors and I get some fresh air that does a lot for me, that tells me something about myself. as well, and certain things inspire me more than others. Some people are very inspired by music. Some people are inspired by colors. Some people are inspired by, you know, great speeches or leaders or seeing someone be terribly kind. Some people are inspired, but by watching somebody get promoted at work, all kinds of things that can inspire you. But you want to know what those things are for you. And the next thing would be what are you afraid off? What things are you frightened off? So you want to think about that, because when you are doing your stories, there's always an element of fear in the narrative. Protagonists are always going through things they are afraid off, and you might very well want to wrestle with some of those things narratively. One of the neat things about literature is that it's not just there to be a story. It helps readers wrestle with life rather than reading a philosophical treatise. You read a story and you walk away from it and you turn it over in your head and you connect with it in some ways, and then if it's a great story, then it keeps coming back and you keep finding new layers to it. So asking these questions, these deeper questions matters. There are other questions you could ask us Well, but these are the ones I'm limiting you to. So again, now we've looked at. Who are you right now? Who are authors that you like? And why do you like them? How do we take inspiration from that and think about who what our voice might be. But then how do we look at our beliefs and our understory aspect to our voice? That will matter as well. 8. Exercise 5: The Talk-My-Story Exercise: this next exercise I like very much. I think it's a lot of fun, and I think that you will find out a lot about yourself when you do it. This is about telling a story orally, so you will need some sort of recorder. Most cell phones now have one, but a record or record on your computer. Or if you have a little tape recorder, anything that you need to record it, and what you're going to do is think of one of your favorite people to chat with and then an anecdotal story that you want to tell them and you are to imagine that person is there, and you're to record yourself telling them this story. Now this exercise doesn't work if you remove yourself from it and you get hung up on the fact that you're recording yourself. No one's ever going to hear this but you. The point of this is to help get you to a natural place and help you find your natural storytelling self. And that will often come out if you're just telling a story to your favorite person, because then all the role, language and your word choices and who you are, just comes pouring out. Think of how genuine you are with the people you love. You're not thinking so formally the way that you are thinking when you're actually looking at a blank page. When we write, we tend to formalize things more, and that's not a bad thing, because if everybody wrote stories the way that they spoke, stories would not be nearly so beautiful and so well done. What this can help you do, though, is start to identify the unique Nique things that you can then take and shape into something more professional as you write. So choose a story doesn't have to be long. Ideally, you're talking for, I would say, at least five minutes, to be honest, because the first few minutes will feel a little stilted. And if you're really struggling to be natural about it, then I would say Figure out story, an anecdote or something that's happened in your day, even that you want to tell that favorite person call them and then tell it to them while you're recording yourself, telling it to them and that that can be another way to go about this. But choose your story. Think of your favorite person and then tell that story. Then go back through and listen to it and see how my inflicting things, how my perceiving things and all of those questions that you asked about riders. You like to go through that list for how you told the story and start to pinpoint the ways that you're telling things and see which of those things you really like because at your true blue self right now, the way you're telling that story, so that will help you identify a lot. 9. Exercise 6: Write Like Your Inspiration: this next exercise is all about trying authors on for size. You have a list now of your favorite authors. You also have assessed why you like them. So now I think it is a good time to go through and try to write like those authors. So choose a story that you would like to tell can be anything at all. It doesn't have to even be terribly long. It could be what happened in your day. It could be anything at all. And if you really can't think of anything than just pick a different story that you've read , that's not even your story and retell it in a different office perspective. So if you really enjoy Lord of the Rings, for example, choose a scene out of Lord of the Rings. Not the whole story. But choose a scene out of Lord of the Rings and say, I'm going to tell this story like Ernest Hemingway. And obviously it's different because Ernest Hemingway never would have written Lord of the Rings again. Authorities voices about your experiences, etcetera. But if you were to try to write in this style of Ernest Hemingway writing the told claim story How would it turn out and again? This is all about finding your comfort spot with the things that inspire you. So I I like it best when you are doing your own stories and not someone else's. But if you really can't come up with a story and go through each of these authors and take the time, you will do this after you've assessed all those authors and after you've given some time to re reading those authors and sort of getting their voice into you. So I would say, Choose for each of these exercises. Don't do them back to back to back to back. Give yourself some space between each like at least a day at least today because you kind of ingrained one. And then you have to shift and read some of the author that you love before whose work you love before you do the exercise, like right before in the days before it, even like ideally, you spend a day or a week just reading Ernest Hemingway and just just get him into your bloodstream and get him into your mind and you've assessed him and you've analyzed him, and now you've just you've been reading him and then sit down and write your scene or your story in his perspective, to the best of your abilities. You are not trying to be you. You're trying to tell your story through Ernest Hemingway's a Foreal voice. That practice is not going to force you to write like Ernest Hemingway. If you embraces of the exercise is what it will do is help train your mind and you're your thought processes and how you speak and all of that. It's going to help infuse the good things about Ernest Hemingway into you. Now, when you are starting out, it isn't uncommon that you lean a little bit on your influences more than you will later. It's not uncommon if you start out where you sort of feel like there's a whole lot of Ernest Hemingway in your driving, and there should be more of you and with less of him that it's not as unique as you would like. That's normal. Do not sense. Send sure yourself for that. It's completely normal. So it may very well be that your early riding efforts, even outside of these exercises, lean a little heavy on writers whose work you like. That's just normal as long as you don't stay there as long as you're moving forward and developing, that's OK, that helps you. So with each of these exercises, you know, take the authors you like, try to write like them. It's going to infuse thes. It's like muscle memory. You know your piano, you play the scales will soon. Your fingers just learned how to do it. The more you practice riding the styles of the artists you like, the more that becomes a muscle memory for your writing. It really does. And you'll just start to find that you write that way and the reason that I recommend that you don't just pick one author as an influence, but you pick several and you do. This exercise several times is that that actually will help you to not just be the next. Be another Ernest Hemingway. It will help you to be you that you cannot be another Ernest Hemingway anyway, because you're bringing all these different things in that our voice. But it will help you get in a rut where you sound too much like one right her so that I love this exercise. This one really can take time, I think. And if I were saying an ideal way to do it, I would give a week teach. Give yourself a week, at least with Ernest Hemingway, or longer is fine, but at least a week to really just get him in your blood If you just kind of read in Ernest Hemingway. Seen 30 minutes before you do this exercise, you will not infuse the things you love about Hemingway the same way I just it just what happened. You need to live with him for a while and let him get into your bloodstream. Theun, do the exercise. 10. Exercise 7: Stream of Consious Writing: My final exercise for you is just a stream of conscious exercise, and this one is just to go outside in a place where there loads of people and just observe them and just start to write stream of consciously Doesn't matter what you're saying. It doesn't even have to necessarily be a story. You're just writing what's in your head. Just writing, writing, writing, no rules. Just write about what you're observing, what you're thinking, what you're seeing. You might start to write about the man over there with the ducks, and then you see the girl learning to ride a bicycle in. You start to write about her just right and then go back and see the things you observed. Did you tend to knows his clothing more? Did you tend to notice the weather more? Were you sarcastic about that? Did you put in a lot of your own opinions about people or did you not? Some riders really include their own authority. All opinions are the writers like to be more behind the scenes. So are you an author who likes to be more present in your stories? Are you an author who doesn't like to be. But when you do that stream of conscious exercise with no expectations, no thing, no rules just look just right. That is like the recording storytelling one going to try to help you find that most natural place for your writing. So there you have it again. All of these exercises, I think, will go a long way to helping you find your voice. I cannot reiterate enough voice is not this easily identifiable thing. It's sort of the whole package. It's this it that is not tangible. That makes up who you are. It is worth investigating. It will always change, which means doing these sorts of exercises will always be beneficial to you, no matter what stage arriving your at. And it's also true that as you get in the habit of doing some of these, you will naturally become someone who absorbs things they like and observes things they like about different authors or artists or whatever. You'll naturally become someone who starts to absorb those things into your own work. So this exercise is also really just help you be a better writer. In general, I do hope this video is helpful again if it was Please, do they have a review tremendously helpful and go over to my YouTube channel and follow me there. I'm also on instagram, So I thank you very much for watching. I wish you the best of luck with your writing and I'll see you again soon by