If you are interested in blogging or want to promote your book, please contact E. B. Davis at writerswhokill@gmail.com.

Our reason for creating WWK originated as an outlet for our love of reading and writing mystery fiction. We hope you love it, too, and will enjoy our holiday gifts to our readers with original short stories to celebrate the season. Starting on 11/16 stories by Warren Bull, Margaret S. Hamilton, Paula Gail Benson, Linda Rodriguez, KM Rockwood, Gloria Alden, and E. B. Davis will appear every Thursday into the New Year.

Our November Author Interviews: 11/8--Ellen Byron, and 11/15--Sujata Massey. Please join us in welcoming these authors to WWK.

November Saturday Bloggers: 11/4 Margaret S. Hamilton and 11/11 Cheryl Hollon.

Congratulations to our writers for the following publications:

Shari Randall's "Pets" will be included in Chesapeake Crimes: Fur, Feathers, and Felonies anthology, which will be published in 2018. In the same anthology "Rasputin," KM Rockwood's short story, will also be published. Her short story "Goldie" will be published in the Busted anthology, which will be released by Level Best Books on April 25th.

In addition, our prolific KM will have the following shorts published as well: "Making Tracks" in Passport to Murder, Bouchercon anthology, October 2017 and "Turkey Underfoot," just published, will appear in the anthology The Killer Wore Cranberry: a Fifth Course of Chaos.

James M. Jackson's 4th book in the Seamus McCree series, Doubtful Relations, is now available. His novella "Low Tide at Tybee" appears February 7 as part of Lowcountry Crimes: Four Novellas, which is available for order.


Monday, September 6, 2010


Agents and publishers look for manuscripts possessing great voice. How can a writer create voice? Literary agent, Nathan Bransford broke down voice into the following elements. (http://blog.nathanbransford.com/2010/05/how-to-craft-great-voice.html)

• Style
• Personality
• Consistency
• Moderation
• Transportation
• Authority
• Originality
• Authenticity

Have fun creating your voice as a novelist, and creating voice for individual characters. Here’s a matching quiz. Match the dialogue to the speaker. Assume all are American.

1. “What do you want, Sherry?” asked Hamilton.                   
2. “What’cha want, Sherry?” asked Hamilton.                        
3. “Whatever do you want, Sherry?” asked Hamilton.            
4. “What! What?” asked Hamilton.                                        
5. “What is it that you want, Sherry?” asked Hamilton            
6. “What do you want, my pretty Sherry?” asked Hamilton.   

A. Unpolished male
B. Consultant male
C. Exasperated male
D. Demonic/psycho male
E. Stuck-up prig male
F. Typical male

Consider the following four examples, which contain essentially the same information, but conveyed by very different voices.

Paragraph 1
Hearing Natalie’s knock, Abby bolted to the door. When she unfastened the deadbolt and opened the door, Abby couldn’t help herself. “Took your time!”

“I’m supposed to have the day off, Abby.”

“In this business, there is no such thing. Something’s happened. We need to have an emergency planning meeting.”

“Perhaps if you had explained the emergency…”

Natalie’s irritated expression was replaced with perplexity. She looked fresh in the morning’s light, but also hesitant to enter her boss’s private quarters.

“Let’s not waste time.” Grabbing Natalie’s hand, Abby pulled Natalie into her apartment, but released her arm as she turned. Walking toward the kitchen island where her papers were strewn, Abby heard Natalie’s footsteps following her across the hardwood floor. She looked into the living room mirror. Natalie was evaluating her furniture.

Paragraph 2
Natalie’s knock resounded on the door. Abby found Natalie on the other side standing in the bright sunlight. Even though it was Natalie’s day off, the murder at the store meant closing for a day, at least until the police finished with the crime scene. Giving Natalie an explanation and her instructions for the next day was imperative. Natalie seemed reluctant to come inside so Abby opened the door wider, beckoning to her. But when they walked to the kitchen, timid Natalie sure looked interested in Abby’s furniture.

Paragraph 3
After hearing a knock on the door, Abby wondered if her assistant had arrived. It better be Natalie. She found Natalie on her doorstep. Smug satisfaction appeared on Abby’s face knowing that her minion had followed her directive even on her day off. She noticed the bright sunlight shining on Natalie’s face. Not a line on her face, yet! Natalie seemed hesitant to enter, so Abby opened the door wider and gestured for her to follow. The little mouse is scared of me. Turning her back on Natalie, Abby walked to the kitchen expecting Natalie to follow her. When she went behind the kitchen bar and faced Natalie, she was shocked to find Natalie inspecting her furniture. What nerve!

Paragraph 4
“Natalie, you’re finally here.”

“I’m not always available, Abby.”

“If you want your job, you will be.”

“That’s not fair. Everyone’s entitled to a day off.”

“Not in this business. We’re wasting valuable time. Come in and let’s get started.”

“What’s so all fired important?”

“A customer was poisoned in the shop last night.”

“Oh my God!”

“Yes, Natalie. Somethings are more important than your day off.” Abby ushered her assistant into her apartment and walked to the kitchen where her work was spread-out on the counter.

“Sit down at the bar, I’ll grab some coffee, want some?” Abby asked, but Natalie was unresponsive, too busy hawking the furniture.

Which example do you think shows off voice best as defined by Nathan Bransford?

1 comment:

Pauline Alldred said...

I still think number 4 shows both women most clearly.

I know voice is a difficult quality to define. However, in a live critique group, if each member reads a page of their work aloud, distinctive voices become clearer, in my experiece, anyway.