I got a great question the other day about authorial voice and third person voice from an editorial client. He was writing in alternating close third POV chapters with a cast of several characters. Basically, he was telling his story in third person from several character perspectives. Even though everything was in close third person, he was still dipping into different character heads per chapter. Would that influence the voice? Basically, he was wondering what the difference was between authorial voice (his natural voice as a writer), the third person voice of his overall narrative, and how (and if?) close third is influenced by character voice. A lot to unpack here!
Basically, it’s a balance. There is the author’s own voice, and then the narrative voice, which is informed by POV character, at least slightly. Or at least it should be. Because if your third person narrative voice is the same from Character A Chapter to Character B Chapter, then why bother segmenting the narrative into separate characters?
This writer made the choice to use different close third POV characters. The modern trend is to “flavor” your POV chapters with narration that reflects the POV character at least somewhat, even in third person. This obviously happens more conspicuously in first person because then the entire voice is assumed to be the characters’.
But in third person, you wouldn’t write a third person grandfather POV with the exact same language as you would their grandchild’s POV chapter. Overwhelmingly, I’ve heard agents and publishers comment about adding voice and style to close third person POV that at least takes the character whose chapter it is into account. The consensus seems to be that they should be able to open your book to a random page and know which character’s POV we’re in based on voice, even if they can’t see the chapter heading, and even in third person.
So let’s break it down further.
This is the voice of your character. In first person POV (“I said”), that is also the voice you’re writing in. In third person, it is widely preferred in contemporary fiction to let your character’s voice inflect the narrative, especially if you are writing in close third person on that one character. This basically means that you are writing in third person (“He said”) but only go into the experience of one character, usually your protagonist.
Other opportunities to express your character’s voice come in dialogue, where they are literally speaking, and interiority and direct thought, when you render their exact thoughts on the page. This is when you will want to think about voice, which words they’d choose, how they’d say them (syntax), and the content of their self-expression. It’s good to consider these elements for each character you put on the page.
Sometimes, the narrator him or herself is very intrusive and becomes a character in the story. The classic example is the narrator of the Series of Unfortunate Events, written under the pen name of Lemony Snicket, but really by Daniel Handler. There are people acting out the plot but the story is told by a first person raconteur character as well. This is yet another type of voice to consider.
Third Person Voice
If you are writing third person, you are either in close third (your POV is limited to one character), alternating (you hop from character’s head to character’s head but in a more structured way, like my client who asked this question) or omniscient (where you float around and “head hop” at will into the experiences of a wide cast of characters, like The Sun Is Also a Star by Nicola Yoon, but note that omniscient third is widely considered the most difficult to pull off and not a good fit for every market).
This means you are also now thinking about narrative voice, your baseline voice for telling the story. Unless you have a Lemony Snicket-type narrator, but in third person, to account for, your third person narrative voice is going to be more neutral. I would still recommend tinting this voice to share elements with your character(s) if you are writing in close third, alternating, or omniscient. Per my example above, a chapter in third person voice that focuses on a young child should not read like a chapter in third person that explores an older man’s more wistful or reflective (or bitter!) experience.
If the voice sounds the same on every page, even in third person, despite going into the experiences of different characters, this is an issue. You may not be exploring or inhabiting your characters deeply enough. They should affect your voice. Not as much as they would in first person, but enough to have some bearing on the writing.
Another thing to note is that narrative voice can change from book to book. Your snappy YA romance is not going to be written in the same voice as your coming of age MG. It just shouldn’t be. Those are completely different categories, character ages, plots, and reader expectations. So it’s important to realize that narrative voice, whether first or third person, changes according to the characters used and the story being told.
Finally, there’s authorial voice. This is the element that doesn’t change, your signature. Are you known for clever dialogue, like John Green? Froth and fun, like Meg Cabot? Heartfelt honesty, like Judy Blume? These are classic examples but when we read these authors, we know what we’re in for, no matter what the book. That’s because of authorial voice.
If you’re just developing yourself, don’t worry. Authorial voice is something you discover, not force into existence. It falls into place much later in the writing journey, and sometimes people can’t predict what their signature is until it emerges.
My client, though, was wondering if authorial voice should dominate the third person writing, or if he had to make allowances for character to creep into the narrative. Especially since he was writing in alternating chapter close third person, I told him that character had to lead the day. Authorial voice will emerge, but it should not be your primary storytelling concern. Especially if you are choosing to render multiple POVs.
The overall voice with be yours (authorial voice), and that sense of voice will get stronger, the longer you write. But I would encourage my client, and anyone reading, to add lenses of more stylized voice/narration that are going to be unique to each POV character.
If you are curious about POV and want more exploration and examples, I highly, highly recommend Writing the Intimate Character by Jordan Rosenfeld.
Struggling to develop voice? It’s usually the last writing and storytelling element to fall into place. With me as your novel editor, we can work toward your own narrative style together, in a focused, supportive, and actionable way.