Of all the components that add up into a good story, 'Voice' is probably the one I'm most confident in.
Grammar and pacing are the two biggest things I struggle with, but let's go back to the whole Voice thing.
I love Voice.
If Voice is good, a reader can forgive a lot...
But there's a downside (or so I've learned) to being able to easily slip into the Voice of a character.
You can get sucked so deeply into the main character's Voice, that you lose the big picture. You can't pull back the focus and examine the other characters, see what they want, how they will naturally react, etc.
Your perception narrows to a single viewpoint.
Good for Voice, bad for plot progression when you need another character to move/act and push the story forward.
...and I wonder if I get too indulgent...
Especially when I read back through a scene and realize that I've referred to a very famous (and respected) artist as, "... suckling at the addictive teat of Jungian psychotherapy..."
Jay's no-filter Voice is... perhaps a little addictive for me?
...'cause it takes a lot for me to lose my own filter, and when it's gone, I really do say things like:
"I wouldn't climb into a stranger's van for candy, but if he held up a nice bordeaux, I'd hop right in!"
(This is why I should not ever be on Twitter. I am not to be trusted with communication methods that are not editable)
This post has a point, I swear.
I've been character-motivation-blocked in SCARLIGHT because Jay's Voice is so... addictive? I can't break away and figure out what Kell wants, and where I currently am in the story, she's just wrestled control away from Jay. It's now her move to call the shots and... and... and...
'Out, damned spot, out I say!'
(cue loud throat clearing)
'Out, damned Jay, out I say!'
(casually thwacks side of head to rattle brain back into position)
Okay, this is getting me nowhere...
Any brilliant ideas/suggestions?