For me I get stuck about should I be writing this genre or that, how adult should this be.
If I go too far Ill have to change my name.

I agree though with the structure, a simple ten point structure works forme, three beats.

Point 1 introductions, then 2-4, 5-7, 8-10 beats.. with and optional 11th point for either huge climax or an extended conclusion about what happened to who afterwards or how the world changed.

I think ultimately the hardest thing to do is not to change your voice, but finding that mixture of style, genre and use of literary tools that hooks you!

To find YOUR Voice! A unique and original thing..

Like Orwell, Dickens or PK Dick, Dahl or King.. your delicate voice should intrique like Sean Connery, excite like Alan Rickman’s.

The Voice is the most potent of Cocktails, like Crack Cocaine-it delivers a literary high
creating emotional reasonances in the reader that create actual bodily change.

In my case while reading “Atonement ” by Ian McEwan a tear or on a train I burst out loud into laughter, reading “The Life of PI” a woman turned to me to look and what I was reading and she smiled “I laughed a lot too”.

So the Voice is perhaps a mix of pure thought an honed device mixed with lies and dreams.
Seduction, elation, promise, desire, arousal, hidden in blank prose.

To find an honest voice, with transparent devices to lure one’s through a three hundred or a thousand pages.

To find that inner birdsong whether brusque and confident like Hemmingway or sharp and modern
like Diablo Cody.

Perhaps then like the “Quest” the journey of self discovery, is the rite of passage for any writer
like Arthur pulling the “Sword from the Stone” finding our voice as writers is our second birth.

Then like Sisyphus himself we must every day practice our labours and then we can play.