I am not a poet. Yes, I have written poetry, and some of it might even be palatable, but overall, it would receive no finger snaps upon hearing them. What I do have, however, is poetic license within my fiction and non-fiction writing. Just like fiction, there are elements within poetry that when developed well can heighten the caliber of the work. Some of those elements include voice , imagery , sound , rhythm , and structure ; I'm sure you already see how these elements find their way into fiction, too. We can all agree that fiction writers care about the voices of their characters , especially the voice(s) of the main character(s) that readers follow throughout a novel. What these characters say (and don't say) and how they say it informs readers and helps them to make the characters real in their minds. In developing their characters and the worlds in which they live, fiction writers also care about the use of imagery . This, of course, does not mean to write flowery pr...

In his novel A Long Way Down , Nick Hornby uses four different points of view to explore the ramifications of one shared incident. On New Year’s Eve, these characters encounter one another on the roof of the most famous suicide tower in London. Ultimately they talk one another off the ledge and into a pact that will delay the decision for six weeks, until the second most popular night for suicides—Valentine’s Day. If any of them still want to die that day, they will honor those wishes. Despite their huge differences, the characters spend a lot of time together. Check them out: Maureen is a conservative middle-aged woman who has had intercourse once in her life—with a fiancé who then left her—and that act produced Matty, a brain-damaged son who even as an adult cannot speak or interact with her in any way. Maureen has no life; all of her time is spent caring for her son. And once you have a child like Matty you can’t help but feel, That’s it! That’s all my bad luck, a whole life...

Last time I spoke of character voices . This time, I'd like to look at your voice. After  a presentation I gave for a local book club, one member said she'd read one of my books. Her comment was, "You write the same way you talk." And, after I sent a chapter to my critique partners, one said, "This sounds very Terry." That, I think, sums up "voice." Any author starting out tries to write what she thinks a writer should sound like. She might work hard to make her characters sound unique, and true to their backgrounds, but all the other stuff—the narrative parts where the character isn't speaking—sounds stilted. It sounds "writerly."  But what the characters say isn't the same as "Voice." It's all the other words, the way the sentences are put together, how the paragraphs break. Can anyone confuse Suzanne Brockmann with Lee Child? Janet Evanovich with Michael Connelly? Even Nora Roberts has a distinctive ...