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It’s a Perspective Thing

April 11, 2012

This has been on my mind quite a lot since I started writing Mae, 52 Weeks, and the Pawns trilogy. Why? Well, let me explain.

With Pawns, I’m doing something I don’t see much in romance. The perspective changes based on who best serves the scene. It’s Ash, Frost, Crabapple, Slate, Quince, Flurry, and whoever else fits the scene best, and there is no rhyme or reason as we watch this cat-and-mouse game unfold through the eyes of a dozen different characters. This isn’t unusual in other genres—especially sci-fi—but I don’t see it much in romance. Of course, Pawns is unusual in a lot of ways since the way we’re telling the story is also unusual. But, I didn’t see another way for this to be told and still hold onto my intention of the storytelling being a vehicle for a chess game played out between Frost and Ash.

Then there’s Mae and 52 Weeks. They are each only told from a single point of view. Usually, when I write a romance, I like showing both protagonists’ thoughts and feelings throughout the book. But, when I sat down to work on Mae, I realized I didn’t want to visit Wil’s head. Why? Mainly because Wil is pretty much what he appears to be. He has no ulterior motive in Zack’s life. He has his secrets, his problems, yes, but he doesn’t lie or hide them, so as Zach comes across them, so will the reader. The one who is most important, who will do the most changing, is Zach, and so it made perfect sense to remain in Zach’s head 100% of the time.

When I began working on 52 Weeks, I fully intended to tell half of the story from Rhys’ point of view. Within two chapters, though, I knew it wouldn’t work. There are secrets in Rhys’ past that I don’t want the reader to know. I want the reader to learn those secrets as Aspen does. This led to the decision to tell none of the story from Rhys’ perspective. It’s more important to see Aspen grown, change, fight, and learn who the man he’s given himself to for a year is. Therefore, it made perfect sense to me to keep everything from Aspen’s point of view.

In For the Love of a Master, I use first person, which is so strange for me. It’s been a while since I’ve written in first person like this. But, we’re in Ewan’s head from beginning to end, and I’m enjoying the challenge of writing something a little different from my usual fare.

But it’s odd for me. There are times I really want to give a glimpse into Rhys’ or Wil’s or Sir Jiat’s head, show the reader a little something. It’s so ingrained in me to give both perspectives. It’s the only way I’ve ever done it except for Morningstar, and that was a long time ago. So, I’m playing with perspective, stretching my wings, and I’m determined to never box myself in. XD

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