Finding Your Voice in Writing

Amanda Gefter’s book, Trespassing on Einstein’s Lawn, mostly focuses on physics and the complex state of how our leading physicists were thinking about the universe in 2014. The book also, however, focuses on Gefter’s journey into science journalism, about her life and experiences, about our quest for knowledge, and about the ways in which we try to express and share what it is we know and learn. A little over halfway through the book, Gefter writes about her first attempt at writing a book, and endeavor she undertook with her father.

 

Gefter struggled to write a book with her father that would be more than a repository for the knowledge that she and her father had gained over the years as they delved ever deeper into the complex physics of spacetime, relativity, and quantum mechanics. She describes her efforts to write a book and how her publisher described her final product as lacking her true voice. All her life, writing for a bridal magazine, writing academic papers, and trying to break into science journalism, Gefter had felt that she needed to write with a voice that was distinctly not her own. She had adopted the voice of a stuffy, old, British man for the academic papers she wrote in college, mimicking the style she saw in the academic papers around her, and her bridal magazine days early in her career seemed to lack any voice at all. To be able to write successfully, Gefter was challenged to find her true voice, and to use her voice to describe the science she loved and wanted so passionately to understand and be a part of.

 

She wrote about the feedback that her first editor, Katinka Matson, gave her regarding her first attempt at a book, “Matson felt it was the co-authorship that had muted my voice. Maybe she was right. Maybe it was Safe and Screwed, like their confusing co-authorship structure. You violate the laws of physics when you try to speak from two observer’s points of view simultaneously. Maybe you violate the laws of publishing, too. Maybe our book had been an impossible object from the start. Maybe it didn’t make sense to try to write a book using both our voices, since it would add up to no voice at all.” In trying to fit her voice in with her father’s voice, Gefter left something out of her writing. She felt that she could not write as herself, and as a result she adopted a different persona for her writing, a persona that lacked her energy and spark and that failed to authentically convey her own excitement and interest in the puzzling and sometimes paradoxical science of the universe.

 

The answer for Gefter was not necessarily to give up the idea of publishing a book with her father, her copilot on her journey though physics. The challenge and answer for Gefter was to figure out what she needed to do to write as herself, and early on in her writing career this meant developing her writing voice independently, and then learning to incorporate others people and elements.

 

In the passage above, Safe and Screwed are two characters that she introduces in Trespassing on Einstein’s Lawn when talking about black holes and the experiences that two people would have if one crossed the event horizon of a black hole and the other did not. Safe would be outside the even horizon, alive and presumably happily floating along in space. Screwed, on the other hand, would be burned apart by Hawking radiation and the part of him not devoured by quantum particles would be pulled and stretched by the gravitational force of the black hole. Screwed and Safe are how Gefter came to understand what our experience of black holes would be like, and sharing their stories and perspectives was the type of innovative science writing that Gefter needed to cultivate to express her own voice. Throughout the book, Gefter references Screwed and Safe, and she brings in other characters to help us see what is taking place at the edges of our understanding of the universe. This was the voice that Gefter needed to develop. She needed to step beyond the safeness of stuffy academic writing and passionless editorial writing to be an authentic, yet possibly screwed, science writer.

 

In our own lives and activities we must do the same. We cannot simply write, think, or do the things that we have seen before us. We cannot adopt styles and personalities because we think that is what other people expect. To be authentic to ourselves, to be innovative, and to make an impact and a difference, we must be ourselves, cultivate our own voice, and we must not be afraid to show who we are. We are not all stuffy old British men, so we should not write, speak, or behave as if we are, simply because most people in our jobs act that way or because that is the model of success we have seen before. I don’t think we literally all act like stuffy old British men, but in our lives we adopt certain personalities not because those personalities express who we are, but rather what we think we want to be, and because those personalities signal to others that we are part of a tribe (or at list think we are/want to be) and that we can use the same words and hold the same virtues as others in the tribe. Moving forward, for society to grow, become more inclusive, and develop new innovations, we must find ways to be ourselves and be more creative in the way we interact with and relate to the world. Otherwise we will never be able to communicate our excitement about the corner of the universe that fascinates us, and we will never create the meaningful societal connections that form the cornerstone of society.

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