: Re: Developing your writer's voice I'm a relatively new writer and sometimes I feel like my writing is too bland and that I'm struggling to develop my writer's voice. Does anyone have any good

I always considered "finding your voice" something vague and meaningless, like "finding your inner you" or "finding your true self".

What happens in reality is this: you copy your favorite writers, and then, gradually, their style starts merging with yours (that is to say, your own feelings, your own thoughts).

Personal example: I started by writing like Haruki Murakami, but I don't like jazz so I don't include it in my writing. Neither cats, wells, or Japan (since I don't live in that country). I did keep his lyrical prose, surrealism, and use of metaphors, though--then mixed all that with my love for science, rationality, and philosophy. Also, I don't agree with writing a story that doesn't have a clear theme/meaning, so I decided not to pick that from him (he's still my favorite writer, though).

So, don't think too much about it. Just write.

And be careful, many writers use this finding-my-voice thing to procrastinate, to have an excuse to not to write.

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: Re: Developing your writer's voice I'm a relatively new writer and sometimes I feel like my writing is too bland and that I'm struggling to develop my writer's voice. Does anyone have any good

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: What to do with cliched metaphors? Example from my own writing: "Please take care of yourself," she replied. "Health is the most important thing in life, remember that." "I know,

: I have three dead-end chapters. Should I keep them or remove them? The protagonist in my story decides to research a topic. Naturally, I wanted her to encounter some obstacles first, so I arranged

: What's the best way to punctuate a list with an comma-containing item? Examples: She looked tough: pieced nose, broad eyebrows, tousled hair, almost spiky. I tried picturing him:

: Is it OK to add description just because a chapter has none? I am trying to write without description, only narrating the perceptions of my protagonist, both external (what happens) and internal

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