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“When you are trying to find your writing voice don’t try to emulate any writer, not even your favorite. Sit quietly, listen, listen again, then listen some more and write out everything the voice says with no censoring â€� none â€� not one word.”
― Jan Marquart, The Basket Weaver

“A writer’s voice emanates from their interest and compulsions that absorbs them completely. Only by fully committing himself or herself to a pet subject or issue can the writer develop a thematic tone that speaks to other people with authority and serenity. The quality of their literary voice is the crucial part of the writer’s legitimacy, and their authenticity cannot come from mimicking other writersâ€� style, but must evolve naturally from their inner sanctity and must flow effusively from an inner necessity.”
― Kilroy J. Oldster, Dead Toad Scrolls

“About play: Play is an important part of finding voice, because it allows us to try on new selves, like costumes, with sanctuary. We can pretend to be, pretend to write as if, without committing. And often play allows us to discover our authentic self. [p. 48]”
― Jill Hackett, Women, Voice, and Writing : How to define, develop, and strengthen your writing voice

“Literature supplements the lives of people and enables us to feel connected with the world. Shared stories blunt a sense of tragic aloneness, and endow us with the tools to understand our humanness. Reading about the lives of other people acquaints us with the hardships of other people. The authorial voices of narrative prose express our shared feelings of deprivation”
― Kilroy J. Oldster, Dead Toad Scrolls

“An author of narrative nonfiction must cultivate a voice that conveys their seasoned feelings, beliefs, and judgments. A voice is analogous to a mental track, a mental groove that enables the author to express their protean thoughts.”
― Kilroy J. Oldster, Dead Toad Scrolls

“Our expectations and experience shapes us. When we write we must find a voice that expresses our sentient self, not some idealized version of a cogent self, devoid of the exacting life-altering lessons that come with enduring a variety of experiences.”
― Kilroy J. Oldster, Dead Toad Scrolls

“Objective motives and subjective compulsions that incite a person to write is the decisive element in defining the writer’s unique voice. Anyone who does not understand oneself or is unwilling to ferret out their own buried, true identity and publicly unmask the hidden stranger that resides within us all will never be a person who can bridge a connection with other people who share similar thoughts, feelings, wants, and needs. Lacking critical discernment, this want-a-be writer will remain a cosseted imposter, playing a coldhearted game of charades. If a person is unwilling to peel back the craggy mask that we conceal ourselves behind and explore the seeds of inner awareness wrapped inside the enigma of doubt engulfing all people, one can still aim to be a writer of nonfiction or technical journals. Creative writing, in sharp contrast, is for the intrepid cliff dwellers, the recluses willing to mine the soft belly of their internal psychosis.”
― Kilroy J. Oldster, Dead Toad Scrolls

“I seek to create an artistic statement of my being by producing a unified voice that speaks for me and to me. I will attempt to capture the pulsation of my mind and harness its incessant rush into a telling format that is revelatory and self-healing. Confessing my sins is the first steps of communing with the self by focusing the light of consciousness upon the darkness of the unconsciousness in an attempt to comprehend what I am for the very first time. I endeavor to open my heart and mind, be an indomitable witness to the paradoxes that bedevil humanity, and serve as an unrepentant admirer of the irrepressible splendor of living in a natural manner undisturbed by the behavior of other people or the inevitable changes in the world that we occupy.”
― Kilroy J. Oldster, Dead Toad Scrolls

“What you delete from your computer, what you take out of your prose, is as important as what you leave in. It is not a loss. When you take away that unnecessary adjective, the removal adds to the ambience surrounding that noun. When you write a page and delete the whole thing, there is a sense in which it is not deleted. The better writer who remained behind is still there. In this sense the analogy to a musician practicing scales is most apt. The point is not to create so many yards of music. The point is to create a particular kind of musician, one who, when called upon, can do what he is expected to do. Writers who throw their scraps away are leaving a better writer behind, and that was the point, wasn't it?”
― Douglas Wilson, Wordsmithy: Hot Tips for the Writing Life

“Art reflects the current composition of a human soul. Perhaps when the artist finally arrives at the point of making art, an artist perceives all earlier drafts as remnants of their former loathsome self. Perhaps when the songwriter stops writing songs, the singer ceases singing, the musician no longer strums his or her instrument, and the poet no longer strings lyrical verses together they have entered a kingdom of one, a realm of aesthetical and ethical certitude. Perhaps when the writer who creates a piece of literature worthy of bestowing the exalted title of art, he or she must exhibit the same gracious manners by following suit by speaking no more.”
― Kilroy J. Oldster, Dead Toad Scrolls

“In telling our story, we develop an internal voice, which vocalization can help us rise or keep us down. An internal voice that constantly speaks to a person in an uplifting and reassuring manner is a rare plum.”
― Kilroy J. Oldster, Dead Toad Scrolls

“On silence: Silence is an important language. Not speaking can be an intensely relational act.
� Repression is a kind of silence, and also shapes voice. [p. 23]
The silencer has power. The dominant culture defines what is spoken about, what is repressed. The effect on the non-dominant culture (in this case women or girls) is to learn the language of camouflage. She learns to disassociate from her own knowing and her own voice.[p. 50] from WOMEN VOICE AND WRITING”
― Jill Hackett, Women, Voice, and Writing : How to define, develop, and strengthen your writing voice

“Inherited voice: Our inherited voice is handed down with the family furniture. [p 39]”
― Jill Hackett, Women, Voice, and Writing : How to define, develop, and strengthen your writing voice

“I'm done writing stories to cater for others, who aren't even interested. This time, I'll write for me with my own voice.”
― Veronica Purcell