What does it mean to have voice of one’s own? And how does narrative fiction, as a medium that works without any concrete sound, evoke “voice” as an aesthetic special effect? Taking my cue from George Bernard Shaw and his play Pygmalion (1913), which refers us to the notion that in a gender context, having a voice is not coterminous with having a voice of one’s own, I compare and juxtapose the two female singer figures in George Du Maurier’s novel Trilby (1894) and Isak Dinesen’s story “The Dreamers” (1934). With her radical departure from Du Maurier’s construction of Trilby’s voice, which is ventriloquized by Svengali, a male artist who sings through her, Dinesen foregrounds the subjectivity of the modern woman artist. In a tragic accident, Pellegrina Leoni loses her voice as a professional singer but instead gains a “voice” of her own as she recreates herself, both as an artist and as her own work of art. By picking up on Mikhail Bakhtin, Shoshana Felman and others, I show in my reading of these two texts about singers how the “voice effect” of narrative fiction invites us as readers and critics to become aware of the tone or “voice” of a text as we trace the dialogue and/or the dissonance between various textual voices.