Tone, Voice, and Mood: Not Just for Angsty Teens

So often, agents, editors, and well-meaning critique group members provide vague feedback along the lines of “the voice on this piece doesn’t feel genuine,” or “this doesn’t strike the right tone,” without any specifics to back up their statements, as if knowledge of tone, mood, and voice is built into a writer’s DNA. This session can help you decipher what is meant by those ambiguous statements, allowing you to revise your work in a deeper way.

Suggested reading: The Noisy Paintbox by Barb Rosenstock, The Longest Night by Marion Dane Bauer, We Found a Hat by Jon Klassen, Coraline by Neil Gaiman, How It Went Down by Kekla Magoon.