A Quote by John J. Geddes

Authority is the unmistakeable tone in the voice of a true writer. — © John J. Geddes
Authority is the unmistakeable tone in the voice of a true writer.
My commodity as a writer, whatever I'm writing about, is me. And your commodity is you. Don't alter your voice to fit the subject. Develop one voice that readers will recognize when they hear it on the page, a voice that's enjoyable not only in its musical line but in its avoidance of sounds that would cheapen its tone: breeziness and condescension and clichés.
For authority proceeds from true reason, but reason certainly does not proceed from authority. For every authority which is not upheld by true reason is seen to be weak, whereas true reason is kept firm and immutable by her own powers and does not require to be confirmed by the assent of any authority.
Aunt Lovey used to tell me that if I wanted to be a writer, I needed a writer's voice. 'Read,' she'd say, 'and if you have a writer's voice, one day it will shout out, 'I can do that too!
An excess of development can undermine the most ephemeral but distinctive tool a writer possesses: authorial voice. A writer's voice is as individual and marked as a thumbprint, and is a playwright's truest imprimatur. It is as innate as breathing, and can be as unique as any genetic code. By its very singular nature, it is seldom born in the act of collaboration. True authorial voice always pre-dates the first rehearsal of a text. And it is - and will always be - an author's most distinguishing and valuable feature.
I always wanted to find my voice and claim my tone, but I was doing it through the steps of being a TV writer. I had the executive producer title. I was running the room.
Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.
I don't know what makes a writer's voice. It's dozens of things. There are people who write who don't have it. They're tone-deaf, even though they're very fluent. It's an ability, like anything else, being a doctor or a veterinarian, or a musician.
I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.
I've never translated more than one book by any author. But I'm fascinated by translators who have, like Richard Zenith, who's translated so much of Fernando Pessoa's work. I get restless for a new kind of influence. The books I've translated are books I want to learn from as a writer, to be intoxicated by. And translation is an act of writing in itself. It's an act of recreation - of a writer's cadence and tone and everything that distinguishes the voice in the book.
Music is the voice of the soul and can move mountains. People receive the message of the soul through the voice. It is a voice, the tone that moves something in people.
I don't know if this is true of everyone, but I have this relationship with my parents where, despite however mature or articulate or grown-up I think I've become, as soon as I go home, I turn into this petulant 13-year-old, especially with the tone of my voice.
I can't listen to my own voice. I change my voicemail on my machine literally every week because I'm so obsessed with getting the right tone of voice.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
My mom has a very high-pitched voice, and there are some similarities between her and the voice I use on 'Big Bang,' although my mom has the Jersey accent, so I took that out. But the tone of the voice is very similar to my mother's.
What is absolutely true is that any good [Television] series has a specific voice. And I think that voice is almost exclusively the domain of the executive producer. . . . As a staff writer you're not being called upon to be the great creative person. You're sort of called upon to understand the characters and their voices and put them through certain paces.
Well, I don't know if this is true of everyone, but I have this relationship with my parents where, despite however mature or articulate or grown-up I think I've become, as soon as I go home, I turn into this petulant 13-year-old, especially with the tone of my voice.
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