Elements of Voice

There are five elements of voice: diction, detail, imagery, syntax and tone. Diction (word choice) is the foundation of voice and contributes to all of its elements. Detail (facts, observations, and incidents) is used to develop a topic, shaping and seasoning voice. Imagery (verbal representation of sense experience) brings the immediacy of sensory experience to writing an dgive voice a distinctive quality. Syntax (grammatical sentence structure) controls verbal pacing and focus. Tone (expression of attitude) give voice its distinctive personality.

Diction refers to the author's choice of words. Words are the writer's basic tools: they create the
color and texture of the written work; they both reflect and determine the level of formality; they shape the readers perceptions. When studying serious literature, students should rarely skip words they dont know. That is tantamount to wearing earplugs to a symphony. To understand voice, students must both hear the words and feel their effects. Diction reflects the writers vision and steers the readers thought. Effective voice is shaped by words that are clear, concrete, and exact. Good writers eschew words like pretty, nice, and bad. Instead they employ words that invoke a specific effect. A coat isnt torn; it is tattered. The United States Army doesnt want revenge; it is thirsting for revenge. A door does not shut; it thuds. Specific diction brings the reader into the scene, enabling full participation in the writers world. Diction depends on topic, purpose, and occasion. The topic often determines the specificity and sophistication of the diction. For example, articles on computers are filled with specialized language: e-mail, web, link. Many topics generate special vocabularies as a nexus to meaning. The writers purpose whether to convince, entertain, amuse, inform, or plead partly determines diction. Words chosen to impart a particular effect on the reader reflect and sustain the writers purpose. For example, if an authors purpose is to inform, the reader should expect straightforward diction. On the other hand, if the authors purpose is to entertain, the reader will likely encounter words used in ironic, playful, or unexpected ways. Diction also depends on the occasion. As with clothes, level of formality influences appropriate choices. Formal diction is largely reserved for scholarly writing and serious prose or poetry. Informal diction is the norm in expository essays, newspaper editorials, and words of fiction. Colloquial diction and slang borrow from informal speech and are typically used to create a mood or capture a particular historic or regional dialect. Appropriateness of diction is determined by the norms of society. When studying diction, students must understand both connotation (the meaning suggested by a word) and denotation (the literal meaning). When a writer calls a character slender, the word evokes a different feeling from calling the character gaunt. A words power to produce a strong reaction in the reader lies mainly in its connotative meaning.

Finally, diction can impart freshness and originality to writing. Words used in surprising or unusual ways make us rethink what is known and re-examine meaning. Good writers often opt for complexity rather than simplicity, for multiple meanings rather than precision. Thus diction, the foundation of voice, shapes a readers thinking while guiding reader insight into the authors idiosyncratic expression of thought: the writers voice.

Detail includes facts, observations, and incidents used to develop a subject and impart voice.
Specific details refer to fewer things than general descriptions, thereby creating a precise mental picture. Detail brings life and color to description, focusing the readers attention and bringing the reader into the scene. Because detail encourages readers to participate in the text, use of detail influences readers views of the topic, the settings, the narrator, and the author. Detail shapes reader attitude by focusing attention: the more specific the detail, the greater the focus on the object described. Detail makes an abstraction concrete, particular, and unmistakable, giving the abstraction form. For example, when Orwell describes an elephant attack, the attack comes alive through the elephants specific violent actions. By directing readers attention to particulars, detail connects abstraction to their lives: to specifics they can imagine, have participated in, or understand vicariously. Detail focuses description and prepares readers to join the action. As a result, readers can respond with conviction to the impact of the writers voice. Detail can also state by understatement, by a lack of detail. The absence of specific details, for example, may be in sharp contrast to the intensity of a characters pain. In this case, elaborate, descriptive detail could turn the pain into sentimentality. Good writers choose detail with care, selecting those details which add meaning and avoiding those that trivialize or detract.

Imagery is the verbal representation of sensory experience. In literature all five senses may be
represented: sight (visual imagery), sound (auditory imagery), touch (tactile imagery), taste (gustatory imagery), and smell (olfactory imagery). Visual imagery is most common, but good writers experiment with a variety of images and even purposefully intermingle the senses (giving smells a color, for example.) Imagery depends on both diction and detail: an images success in producing a sensory experience results from the specificity of the authors diction and the choice of detail. Imagery contributes to voice by evoking vivid experience, conveying specific emotion, and suggesting a particular idea. Imagery itself is not figurative, but may be used to impart figurative or symbolic meaning. For example, the parched earth can be a metaphor for a characters despair, or a birds flight a metaphor for hope. Traditional imagery typically has a history. A river, for example, is usually associated with a lifes journey. Traditional images are rarely disassociated with their historic meaning. Students should be encouraged to examine the traditional meaning of images, the departure from tradition, and the effect of both of meaning. They should also learn to recognize and analyze nontraditional and nonfigurative imagery used to influence and sharpen reader perception.

Syntax refers to the way words are arranged within sentences. Although the basic structure of
the English sentence is prescribed (there must be a subject and a verb; word order can be random), there is great latitude in its execution. How writers control and manipulate the sentence is a strong determiner of voice and imparts personality to the writing. Syntax encompasses word order, sentence length, sentence focus, and punctuation. Most English sentences follow a subject-verb-object/complement pattern. Deviating from the expected word order can serve to startle the reader and draw attention to the sentence. This, in turn, emphasizes the unusual sentences message. There are several ways to change normal word order: Inverting subject and verb (Am I ever sorry!) Placing a complement at the beginning of the sentence (Hungry, without a doubt, he is) Placing an object in front of a verb (Sarah I like not Susan). Good writers shift between conformity and nonconformity, preventing reader complacency without using unusual sentence structure to the point of distraction. Another aspect of syntax is sentence length. Writers vary sentence length to forestall boredom and control emphasis. A short sentence following a much longer sentence shifts the readers attention, which emphasizes the meaning and importance of the short sentence. Many modern writers put key ideas in short sentences. However, this has not always been so. Practice will help students learn to examine sentence length and look for relationship between length and emphasis in works from different historical periods. Sentence length contributes to variation and emphasis among sentences. Sentence focus deals with variation and emphasis within a sentence. In the English sentence, main ideas are usually expressed in main-clause positions. However, main-clause placement often varies, and this placement determines the writers focal point. Sentence focus is generally achieved by syntactic tension and repetition. Syntactic tension is the withholding of syntactic closure (completion of grammatical structure) until the end of the sentence. Sentences that delay closure are called periodic sentences. Periodic sentences carry high tension and interest: the reader must wait until the end of the sentence to understand the meaning. For example, note that the main idea of the following sentence is completed at the end of the sentence: As long as we ignore our children, refuse to dedicate the necessary time and money to their care, we will fail to solve the problem of school violence. In contrast, sentences that reach syntactical closure early (loose sentences) relieve tension and allow the reader to explore the rest of the sentence without urgency. Note the difference in tension when we change the sentence to a loose sentence: We will fail to solve the problem of school violence as long as we ignore our children and refuse to dedicate the necessary time and money to their care. Repetition is another way writers achieve sentence focus. Purposeful repetition of a word, phrase, or clause emphasizes the repeated structure and focuses the readers attention on its meaning.

Writers can also repeat parallel grammatical forms such as infinitives, gerunds, and prepositional phrases. This kind of repetition balances parallel ideas and gives them equal weight. Punctuation is used reinforce meaning, construct effect, and express the writers voice. Of particular interest in shaping voice are the semicolon, colon and dash. The semicolon gives equal weight to two or more independent clauses in a sentence. The resulting syntactical balance reinforces parallel ideas and imparts equal importance to both (or all) of the clauses. The colon directs reader attention to the words that follow. It is also used between independent clauses if the second summarizes or explains the first. A colon sets the expectation that important, closely related information will follow, and words after the colon are emphasized. The dash marks a sudden change in thought or tone, sets off a brief summary, or sets off a parenthetical part of the sentence. The dash often conveys a casual tone.

Tone is the expression of attitude. It is the writers (or narrators) implied attitude towards his
subject and audience. The writer creates tone by selection (diction) and arrangement (syntax) or words and by purposeful use of details and images. The reader perceives tone by examining these elements. Tone sets the relationship between reader and writer. As the emotion growing out of the material and connecting the material to the reader, tone is the hallmark of the writers personality. Understanding tone is requisite to understanding meaning. Such understanding is the key to perceiving the authors mood and making the connection between the authors thought and its expression. Identifying and analyzing tone requires careful reading, sensitivity to diction and syntax, and understanding of detail selection and imagery. Students can, with practice, learn to identify tone in writing. Tone is as varied as human experience and as with human experience, familiarity and thought pave the way to understanding.