  Drama
This week: Part Two ~ Tone in The Night Circus Edited by: NickiD89  
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| Like many of you, I've considered myself a writer my whole life. But in 2007, I shifted out of hobbyist mode, started writing for an audience, and embarked on the exciting journey towards publication. As I continue on that path and delve ever deeper into the craft, I feed an insatiable appetite for creative writing theory. I seek out how-to books and workshop experiences to augment and amplify whatever talent I possess. For those of you like me, here's a little theory to appease your hunger. |
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Amazon's Price: $ 12.99
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This is Part Two of a two-part series exploring voice and tone in literature.
I have been on a journey of sorts, exploring the subtle differences between voice and tone in literature. Those words seemed so easy to understand. Voice, so elementary; tone, so obvious. The stuff of Creative Writing 101. Yet here I was, five years into my craft, and still I had to admit confusion. Last month I delved into voice. By way of defining voice, I said this: "I prefer to liken voice to different instrument sounds, which I find easier to envision. Imagine "Happy Birthday" played on a tuba, and then on a saxophone. Though the melody doesn't change, the two instruments will produce unique sounding versions of the song."
Today, we're talking tone. And so to plug that component into the above equation: If voice is the sound of the instrument, tone is the melody of the song.
A song's slow, mournful melody will make listeners feel sorrowful. Quick, playful notes that jump up and down the scale will elicit feelings of fanciful joy. In the same way, tone in literature produces an emotional response in the reader. An author chooses words with great care to create and heighten the mood that will make readers feel a certain way.
Erin Morgenstern understands how to do this. The use of tone in her debut novel The Night Circus is effortless and organic as it guides readers through an array of emotions from scene to scene. Consider these short excerpts, by way of example.
From Page 5, Anticipation:
At first, it is only a random pattern of lights. But as more of them ignite, it becomes clear that they are aligned in scripted letters. First a C is distinguishable, followed by more letters. A q, oddly, and several e's. When the final bulb pops alight, and the smoke and sparks dissipate, it is finally legible, this elaborate incandescent sign. Leaning to your left to gain a better view, you can see that it reads: Le Cirque des Rêves.
In this scene, a sign goes from dark to "incandescent," one "elaborate," "scripted" letter at a time. It "ignites," as "bulbs pop" in a flurry of "smoke and sparks." Morgenstern uses these descriptors to create a mood of enchanted anticipation, feelings that are heightened by the second person narration, which draws you emotionally closer to the "random pattern" turned "legible" sign.
From Page 33, Le Batelleur:
Candles flicker in glass holders on every available surface, and the walls are painted a rich, bold red. There are only a few patrons scattered about the intimate space and plenty of empty tables. They sit at a small table near the window. Marco waves at the woman behind the bar, who then brings them two glasses of Bordeaux, leaving the bottle on the table next to a small vase holding a yellow rose.
Every setting description in this paragraph creates a mood of romance and intimacy: the near empty space lit with "candles" that "flicker" in "glass holders"; the "rich, bold red walls"; and, the "yellow roses in small vases on each table." Readers feel the promise of passion and amour.
From Page 80, Strategem:
"Did she do that in the audition?"
"Yes, she did," Marco says, without looking up from his books.
"She must be very good."
"She's too good," Marco says, pulling another shelf worth of books from their resting places and moving them to the table, the violet an innocent victim once more. "This could be problematic," he says, almost to himself. A pile of notebooks slips from the table to the floor in a flurry of fluttering pages and a sound like the wings of birds."
Key words from this excerpt clue readers into conflict to come, putting readers on edge with imagery wrought with apprehension: a "shelf worth of books" pulled from their "resting places," a "violet" becomes "an innocent victim" as it's knocked over, and a fallen notebook's "flurry of fluttering pages" that "sound like the wings of birds."
What Erin Morgenstern achieved in The Night Circus, with her unique voice and skillful use of tone, is a true inspiration for any emerging story-teller. I was absolutely enchanted by the story. And examining the work with an exploratory eye, learning the lessons on voice and tone it teaches by example, has been a true pleasure. Thanks to Erin Morgenstern. And thank you, WDC readers, for taking this little journey into voice and tone with me.
Thanks for reading!
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| |  | The Cuckoo (E)
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Last month's question was: In addition to style, the ability to transport readers, and consistency, what other elements contribute to a strong authorial voice? What authors do you feel have a strong voice?
BIG BAD WOLF Happy July 4th!  -- (Submitted item: "The Werewolf's Gun" ) I don't know what it is that make an author strong, but for some reason, there are some Authors I can't just put down: Brian Jacques- fantastic Children's Author, Anne McCaffrey- fine Sci-Fi writer, and Gordon R. Dickson- great Fantasy writer. They'll all be missed.
Me -- I love Brian Jacques! Great authors all, and you're right, it's sad when an incredible writer's body of work is forever complete.
blunderbuss -- For me a lot of 'voice' is tied up with style. I was a great reader of the late Iris Murodch in my twenties. Her voice/style came through in many ways, not least the fact that she taught philosophy - philosophical issues loom large for her characters. They question what they do because the 'ethical' or 'moral' issues really matter. Not that her characters are at all well-behaved! However, she was writing mainly about the educated middle-classes - her own milieu. Not many writers can cross that familiarity barrier - in fact I am straining to think of even one. This affects your 'voice'; the language you use and how you use it e.g. a preference for concise sentences and the way your characters speak.
Me -- I agree with you. The wider an author's experiences, the deeper the well of familiarity she can dip into when crafting her characters' dimensions. However, I think authorial voice is different from character voice. Gah! It's confusing, right? 
Jo Denton  -- Thanks so much for such an interesting take on Voice. I have been reading quite a bit on the subject and found your examples helpful.
Me -- Thank you for saying so!
See you all back here on May16, 2012. Until then, have a great month!
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Drama: April 18, 2012 Issue [#5000]
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