Voices, Voices Everywhere
Having been told that her boyfriend had cheated on her, Marsha had come to a realization which she had always expected she would someday have to make: that being, the decision to end her relationship with Bobby, because she suspected that he could never commit himself to a monogamous relationship. She had previously dismissed her concerns about Bobby's fidelity after concluding that her "concerns" were just another example of her own insecurity.
Maybe her dad was right; maybe Bobby would never commit. "The only way that tomcat will come home is if he's neutered," he used to say in his stern, matter-of-fact voice. She resented her dad's advice at the time, but now she realized that he was probably right; Bobby wouldn't commit. He had advised her to break up with Bobby, but she didn't because she was in love...
She had loved him...she still loved him. How could she ever forget the "good times" they had together? The tender caresses, his hairy, sinewy arms, the long passionate nights, and the...
"Ion! Why are you writing this tawdry bosh?"
"Grandpa, it's not as it would seem. I'm not writing this stuff because I want to! I'm writing it for a class."
"Oh! I see. And what class is that? Is it the how to write a cheap, mawkish romance class?"
"It's for expository writing. I was trying to write a short piece of fiction in an effort to demonstrate that a writer can write from a great many perspectives without actually having experienced the trials and tribulations that her characters experience."
"What's this 'her' crap? When did you get the operation? Hey, that would explain the subject of your 'short piece of fiction'".
Voices. We hear them everyday when we watch television, read, and engage in conversation.
In compostion and literature courses, when we speak about voice we are referring to the author's attitude towards her subject. This voice doesn't necessarily have to be that of the author; she could've made a conscious decision to adopt a persona which allows her to treat her subject in a manner that doesn't resemble her actual opinion of the subject. This is one of the many wonders of writing which intrigue me. How is it that humans can write believable works of fiction about characters who possess traits or demographic differences which the author has not experienced? For instance, what is it about being human that made it possible for Harriet Beecher Stowe to create a character named Simon Legree, who she would find morally repulsive, and then to develop his character in such a way that he becomes believable? The answer is voices.
In the two fictions I created, I had hoped to demonstrate my ability to recall voices which I have heard in the past. Although I am a hopelessly inept writer of fiction, I think that you can identify the voices:
Marsha is the young woman hurt by her boyfriend's philandering. Anyone who has watched daytime television has probably heard a thousand...