• Fiona McIntosh: Voyager Author of the Month

    Fiona McIntosh was born and raised in Sussex in the UK, but also spent early childhood years in West Africa. She left a PR career in London to travel and settled in Australia in 1980. She has since roamed the world working for her own travel publishing company, which she runs with her husband. She lives in Adelaide with her husband and twin sons. Her website is at www.fionamcintosh.com.

    Her latest book, The Scrivener's Tale, is a stand-alone and takes us back to the world of Morgravia from her very first series, The Quickening:


    About The Scrivener's Tale:

    In the bookshops and cafes of present-day Paris, ex-psychologist Gabe Figaret is trying to put his shattered life back together. When another doctor, Reynard, asks him to help with a delusional female patient, Gabe is reluctant... until he meets her. At first Gabe thinks the woman, Angelina, is merely terrified of Reynard, but he quickly discovers she is not quite what she seems.

    As his relationship with Angelina deepens, Gabe's life in Paris becomes increasingly unstable. He senses a presence watching and following every move he makes, and yet he finds Angelina increasingly irresistible.

    When Angelina tells Gabe he must kill her and flee to a place she calls Morgravia, he is horrified. But then Angelina shows him that the cathedral he has dreamt about since childhood is real and exists in Morgravia.

    A special 10th Anniversary edition of her first fantasy book, Myrren's Gift, will be released in December!

     

     

Fallon Friday: Jennifer on Point of View

Point of view is the voice of the character telling the story.

Changing the POV shouldn’t confuse readers. If it’s done well, making it clear who you’re dealing with, you can view a story from multiple points of view, which will give the reader a much greater insight into your story, and better yet, a much greater insight into your characters.

First person narrative gets you right inside the head of your protagonist, but you are limited to what they know, see and experience. It can be difficult avoiding the “remind me of where we’re up to in our evil plan to rule the world, Throckmorton…” type of exposition dumps to help your hero along.

Romances and horror tend to be written from one point-of-view. Science fiction and fantasy are often told from multiple points-of-view.

Omniscient POV is when a narrator unconnected to the action is telling the story. This can be effective but the danger is that it can distance your reader from a character. It’s like a wide shot in a film and has the same emotional impact. Use it wisely.

Head hopping, (my pet hate) which is the term given to the technique of jumping from one character’s POV to another’s in the same paragraph, can be very effective if it’s done well, and a nightmare if it’s not.

Having all your heroes sitting around a campfire the night before a battle and examining what each one is feeling might be very powerful, but only if you handle the transitions well. Having the characters say it aloud will achieve the same thing and not confuse the reader.

Example:

Henry knew he was going to die, and thought of his one true love, waiting for him at the border. George knew he was going to die too, and wondered if he’d remembered to turn the iron off before he left home.

Alternative:

Henry knew he was going to die, and thought of his one true love, waiting for him at the border. He glanced at George, whose expression betrayed the same fear, but when he realised he was being observed, he grinned and said, “Cripes, I hope I remembered to turn the iron off before I left home.”

Unless you’re very experienced, stick to one point of view, and don’t change it unless you have a chapter or a time break so that the reader can clearly delineate, in their own mind, that someone else is now telling the story.

It’s like changing camera angles in movie, only in writing, you need a break before changing whose eyes you’re looking out of.

Jennifer Fallon’s latest series, which began with The Immortal Prince and will end with The Chaos Crystal in December, does involve some changing POVs – but you’ll have to read the series to find out how she does it!

Click here to visit Jennifer’s blog.

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One Response

  1. Hi Jenny,

    I would like to congratulate you on your style and your continued imagination. I was introduced to your work after I finished the latest edition that fellow literary genius produced. After searching through dozens of stories and a multitude of worlds, I find The Demon Child.

    From the first page ‘til I could no longer see any “foot prints in the sand” I was hooked.

    I was frantic to continue the story as you left so many questions unanswered. To my continuing frustration I have discovered the world in which the Demon Child and the Harshini live is not linked to the remaining stories. I was so excited to continue the story I purchased the first in the Second Sons and was prepared for a long Friday night in with a bottle of red, only to discover they have nothing to do with each other. Why?

    I stopped reading and did some research and decided to start the Hythrun Chronicles. Just finished Warlord. This story is amazing, but yet again although it mentions the characters the stories are not linked. Why?

    The reason I ask this question, Why? Is I really like your writing style I like the world (s) in which your stories evolve and just as I start to get hooked, it ends. Do you do this on purpose?

    Your feedback on these questions will help me understand why you have chosen to construct lots of little stories rather than one really big one. ?????

    I’m not even sure if you Jennifer will get to read this email as you must have hundreds each day. However if you do and you have a moment it would be great to learn what is ahead.

    Is there a connection to all these worlds and characters that I have not seen.

    Kind regards,

    Darryl F.

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