A question of voice

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Harlequin

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Recommend me a novel, YA or adult and recently written (so, past 10 years), which has a protagonist who you would describe as "voicey".

The catch: said protagonist must be a clear and categorical introvert.

Bonus challenge; MC is not sassy, dry, or overtly ironic.

And go!
 
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lizmonster

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It's currently at the top of the forums - A.J. Steiger's WHEN MY HEART JOINS THE THOUSAND. First person YA. The narrator is most definitely an introvert, and not at all sassy or ironic, but the voice is really strong. (It's a gorgeous book.)
 

s_nov

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This one is going to seem obvious, but THE HATE U GIVE has a really interesting, engaging voice. The narrator also does a fair amount of code-switching, which is intriguing to see on-page. Another one would be TYRELL. It was published in 2006 so that's a little earlier than you're looking for. And WHO'S THAT GIRL by Blair Thornburgh is high on my list of things I've read lately. The voicie is funny and engaging and the narrator creates this little sphere of language that I enjoyed. I'm not super sure I would call all three of these introverted, but I think their thought processes are deeper than most I've read lately.
 

Harlequin

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I did think of Otter, yes. One of the few I've encountered.

an extroverted can be deep, so not sure how to evaluate the other three.

I think there's a general point (though I'm sure most will pile in to disagree) that voiceyness often seems to be bound up with extroverted characters.
 

Ari Meermans

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If you find that characters in books who have strong voices tend to be extroverts, you might ask why that is. It's an interesting question and I'm now curious as to why that might be or whether it is the case. (This little introvert will be thinking about it for a while.)
 

tnfalpha

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Emily Fridlund's History of Wolves comes to mind. But I can see the point you are making.
 

ElaineA

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OK, I'm not sure how many of your criteria he ticks (not many) but I'm not convinced Mark Watney of THE MARTIAN is an extrovert, at the least.
 

mccardey

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I think there's a general point (though I'm sure most will pile in to disagree) that voiceyness often seems to be bound up with extroverted characters.
I would say (quietly) often, but not more often.
 

Harlequin

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Introverted people often handle conflict in ways that aren't as conducive to storytelling, without an awful lot of narrative gymnastics. Compared to extroverted ones, anyway.

I know, I nkow, generalisations abound.

But I do think this is the case and get exasperated by the stout insistence by a lot of writers that there is NO cultural or societal preference for certain character archetypes, when I'm pretty sure there categorically is.

There are a lot more types of actual people, than there are types of protagonists, because not everyone makes a good protagonist.

I'd be a meh protagonist. Bored, indifferent, not getting up to much. Excessively passive. Etc.
 

mccardey

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Introverted people often handle conflict in ways that aren't as conducive to storytelling, without an awful lot of narrative gymnastics. Compared to extroverted ones, anyway.
Well, introverted people may do that, but it's the story-teller's job to over-come it. I think this is what a lot of lit-fic does so beautifully. I wonder if it's helpful for you to be thinking in terms of an introvert/extrovert binary, or if it's causing you to make judgements before you begin?
 

lizmonster

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Introverted people often handle conflict in ways that aren't as conducive to storytelling, without an awful lot of narrative gymnastics. Compared to extroverted ones, anyway.

This is an interesting assertion. I'm writing a dual FP POV right now, and neither of them are extroverts. What they are is acutely aware of their surroundings, and the subtleties of how other people are reacting to the action. I certainly hope it's not dull, but time will tell. :)
 

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Introverted people often handle conflict in ways that aren't as conducive to storytelling, without an awful lot of narrative gymnastics. Compared to extroverted ones, anyway.

I know, I nkow, generalisations abound.

But I do think this is the case and get exasperated by the stout insistence by a lot of writers that there is NO cultural or societal preference for certain character archetypes, when I'm pretty sure there categorically is.

There are a lot more types of actual people, than there are types of protagonists, because not everyone makes a good protagonist.

I'd be a meh protagonist. Bored, indifferent, not getting up to much. Excessively passive. Etc.

Is it possible you're confusing shyness with introversion? It's possible to be both, but they are not the same thing. I'm an introvert and I'm definitely NOT shy. I'm also voluble, passionate, opinionated, sarcastic, sometimes witty, physically expressive (I "talk" with my hands.) And have a whole host of the usual traits. And, the last thing I'd ever be is bored with my own company. just sayin'.

Introverts' energy is depleted by long stretches of contact with others or by large groups. We need solitary downtime to recharge.
Extroverts' energy is charged by contact with other people and is depleted by extensive solitary downtime.

(I suspect with the proper motivation you'd not be bored, indifferent, or passive. Could be wrong, I know.)
 

Harlequin

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I know, it's separate from that. :) Introversion usually about response to stimuli.

Some introverts will make good protagonists, but my general feeling is the more types of extroverts make easier protagonists than more types of introverts.
 

Roxxsmom

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Introverted people often handle conflict in ways that aren't as conducive to storytelling, without an awful lot of narrative gymnastics. Compared to extroverted ones, anyway.

I don't know that this is true. I can think of viewpoint characters who are what I'd classify as introverted. Introverts have rich inner lives, and if they are the viewpoint character, that can (and should) come out.

But I'm not sure what you mean by narrative gymnastics. What would be some examples?


But I do think this is the case and get exasperated by the stout insistence by a lot of writers that there is NO cultural or societal preference for certain character archetypes, when I'm pretty sure there categorically is.

I think there probably are cultural preferences. It would be surprising if there aren't, but whenever something is an expected norm, opportunities abound to step outside of or deconstruct that norm. There are many readers who want something fresh and different too. Most of the people I've known who write (or even read a lot) are on the introverted side of the distribution.

There are a lot more types of actual people, than there are types of protagonists, because not everyone makes a good protagonist.

This may be true, but transformations (or change) is usually a big part of a character's arc. I'm not saying introvert to extrovert, but an introvert who learns to be more assertive about who they are, or who learns that they can influence people and events without being bold and brassy, could work.

It may be a matter of genre and expected audience too. Literary fiction often focuses more on a character's inner journey, while adventure novels focus more on decisive action and ability to make changes in the world. YA novels often feature shy or withdrawn protagonists, or protagonists who are outsiders in some way. Romance focuses on a dynamic between characters and the emerging relationship's role in overcoming the characters' individual problems. But I can think of romances with main characters who are introverted (sometimes there is an opposites attract thing happening, but sometimes both are introverts, and they find each other). I can even think of fantasy and SF novels where protagonists are what I'd call introverted or shy. I personally don't have much interest in writing stories about "typical" or "sparkly" heroic archetypes, at least not without some twist.

Introverted doesn't mean passive.

I can come up with a list of titles that are examples, given some time and thought. One that comes to mind right now is "Every Heart a Doorway," by Seanan McGuire. The protagonist is far from outgoing or stereotypically heroic (to put it mildly), but she knows what she wants.

Some stories can be about a character finding what they want too, of course.
 
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Harlequin

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I know it doesn't mean passive. sigh, I should delete that post, it's causing problems.

yes, you CAN come up with titles. I can, too.

I'm exasperated by what I see as agent bias/preference for a certain type of voicey character. (Eg, when you ask them for examples, and they list books which have more or less the same character archetype as lead).

If you look at indie authors, they have that nailed. They write these certain types of characters because they're more safely saleable, at least at the moment. I think we have a social preference for certain archetypes, which makes reality tv shows and outrageous personalities so popular. I think some of that extends into books, and it's changing how we think about voice, how we present voicey characters, how we choose what to read.

But that's all personal observation and subjective anecdata. Just discussion, and subjective musing.
 

lizmonster

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Some introverts will make good protagonists, but my general feeling is the more types of extroverts make easier protagonists than more types of introverts.

Why? Not trying to be a snot, really; I'm just not following. (Maybe because with one exception I always write introverts. :))

ETA: Saw your last response. Is this a case of feeling like agents aren't going to go for an introverted FP narrator?
 
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Harlequin

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Donald Maass has some interesting writing on how, in some cases and changing with trends of course... the "dry ironic wit" voiceyness has in some cases replaced more careful characterisation. That sort of personality can sometimes hold the reader at arms' length, rather than bringing them in. But that's another digression entirely.

Why? Not trying to be a snot, really; I'm just not following. (Maybe because with one exception I always write introverts. :))

Because they're easier to sound "voicey" as, or at least agents seem to feel so.

A part of my soul dies everytime someone tell me MC in ms2 has a lot of voice. She doesn't have any more voice than the characters in MS1. But people just think she does because she's that type of snarky, overly ironic, dry wit and sarcasm cliche. I dunno.
 
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mccardey

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Because they're easier to sound "voicey" as, or at least agents seem to feel so.

A part of my soul dies everytime someone tell me MC in ms2 has a lot of voice. She doesn't have any more voice than the characters in MS1. But people just think she does because she's that type of snarky, overly ironic, dry wit and sarcasm cliche. I dunno.
Maybe you're just aware of a current or recent trend in 'voice'? I wouldn't worry about it - trends change, and it's nothing to do with intro/extrovert. (Btw - I googled introverts in literature and Bilbo Baggins placed very highly ;) )
 

mccardey

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Because they're easier to sound "voicey" as, or at least agents seem to feel so.

A part of my soul dies everytime someone tell me MC in ms2 has a lot of voice. She doesn't have any more voice than the characters in MS1. But people just think she does because she's that type of snarky, overly ironic, dry wit and sarcasm cliche. I dunno.
Maybe they're just describing a current or recent trend in 'voice'? I wouldn't worry about it - trends change, and it's nothing to do with intro/extrovert. (Btw - to your OP: I googled introverts in literature and Bilbo Baggins placed very highly ;) )
 

Roxxsmom

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Maybe you're just aware of a current or recent trend in 'voice'? I wouldn't worry about it - trends change, and it's nothing to do with intro/extrovert. (Btw - I googled introverts in literature and Bilbo Baggins placed very highly ;) )

A great example.

The Diary of a Wimpy Kid
was very popular, as was The Secret Diary of Adrian Mole, back in its day. Both featured pre teen, or young teen, introverts. Some of the protagonists in Judy Blume's books for children, teens, and even for adults, are definitely introverted. Introverts show up a lot in YA fiction (maybe because shy kids read a lot. I know I did). Richard in Neverwhere was introverted (and he started out as a very bland, passive person too). Protagonists in mysteries are sometimes introverted, even eccentric. Qwill in Lillian Jackson Braun's "The Cat Who..." series certainly is. He likes people, but he prefers listening to talking and appears to have few he confides in.

And what about Arthur Dent?

Introverts are not uncommon in romances, both as FMC and MMC also.

Someone already mentioned Celie from The Color Purple.

Characters in classic works by F. Scott Fitzgerald, Jane Austin, the Bronte Sisters, Camus, and Tolstoy also qualify. Not all of these characters are presented as even being admirable or likable.
 
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Roxxsmom

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Those are much older books, though ;)

If classical fiction is in play I can pull heaps of them in. Starting with Jane Eyre and going from there.

Introverts abound in much more recent fiction, though, literary and not. They show up a lot in YA and MG fiction.

I think the hardest kind of character to sell is one who is completely passive, at least if they don't change and become more proactive as part of their arc. This is because stories need to move forward, and if someone isn't doing things to drive it forward, they probably aren't the actual protagonist. However, sometimes a character's very passivity or reactivity or inaction can be what drives the story. Camus The Stranger comes to mind.

Come to think of it, Wilbur in Charlotte's Web is pretty passive. He has goals--to find friends, and--once he learns what pigs are for--to not become bacon, but it's the spider who comes up with the plan and saves him. Regardless, it is an engaging story and is still popular today.

I think effective passive protagonists are the hardest kind to pull off, whether they are introverted or not.
 
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