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Welcome

I started this blog in 2013 to share my reflections on reading, writing and psychology, along with my journey to become a published novelist.​  I soon graduated to about twenty book reviews a month and a weekly 99-word story. Ten years later, I've transferred my writing / publication updates to my new website but will continue here with occasional reviews and flash fiction pieces, and maybe the odd personal post.

ANNE GOODWIN'S WRITING NEWS

Three into one? Strange Girls and Ordinary Women by Morgan McCarthy

12/11/2014

18 Comments

 
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Alice’s husband is becoming increasingly critical and his excuses for his absences from the home more and more lame; is she right to suspect he’s having an affair? Vic, managing the hotel in Madeira previously owned by her parents, is delighted when her old friend Michael returns to work on the island; should she share her doubts about the honesty of his new girlfriend, Estella? Kaya dreams of studying philosophy at university but for now, having fled her feckless mother and her mother’s druggie boyfriend, she’s capitalising on her good looks as a stripper; can she leave this life behind? Three women at different stages of the lifespan, seemingly unconnected at the beginning of the novel, find their fates disturbingly intertwined.

This is the last of the four novels published on 6th November (although the hardback of Strange Girls has been out since July) I’m reviewing this month. I was eager to read it after coming across a couple of reviews by bloggers who found this novel much more engaging than they’d expected. Having nothing original to say about the plot without stumbling into spoilers, I’d love to refer you to those reviews but I have to confess I’ve forgotten where I found them, so if you’ve come across anything about this novel that might be of interest to other readers, do please paste the link in the comments section below.

Instead of story, I want to use this novel as a launching pad for a post about structure in which three (or two or four) separate strands merge into one. This is of particular interest to me because in the first four (or five, I’ve lost count) drafts of my going-to-be-published debut novel, Sugar and Snails, I had three point of view characters, but was eventually persuaded that it worked better with one. However, I’ve returned to this structure for my barely two-week old non-NaNo project, hoping I’ve learnt something along the way.

One of the pleasures of Strange Girls and Ordinary Women, and other novels like it, is the gradual discovery of how the three stories interconnect. Yet there’s also potential for frustration en route as, just as we’re becoming absorbed in the world of one character, their section comes to an end and we are obliged to reattach ourselves to someone new. By the time we reach the third strand of the novel we’re feeling slightly battered by this process; then, having finally become acquainted with this new character, we’re thrown back in with the first. It’s not merely a matter of repeatedly making and breaking bonds with the protagonists, but with their satellites of minor characters who are more difficult to keep in mind.

I don’t object to a challenging read but, from my experience of Sugar and Snails, I do wonder if this three-part structure is more fun for the writer than the reader. Two of my point of view characters were a husband and wife who were not as open and honest with each other as they might have been. So far, so good, but the third strand was totally distinct from these two in location, time and character. While I thoroughly enjoyed weaving a path towards “the big reveal”, some early readers found the apparent disconnection a step too far. The novel was much more complicated than it needed to be. Yet I was anxious about abandoning the couple, not only because I’d put so much work into their creation, but because I was hedging my bets. What became clear to me in hindsight was that I thought that if a reader wasn’t so interested in Diana (the remaining single narrator) they might prefer Leonard or Renée. Yet what I was actually doing, in giving my hypothetical reader more choices, was diluting the potential for engagement with any character at all.

I worked with a mentor on the penultimate draft of Sugar and Snails who asked me, on our second or third meeting, “Who’s story is it?” I suppose my initial feeble answer was that the story belonged to everyone, but I was wrong. It’s the story of Diana and, although her parents’ relationship and attitudes to child-rearing have a profound effect on her character, the events are hers. Likewise, by the concluding chapters of Strange Girls, it’s clear that this is primarily the story of one of the three women and her struggle (as in Sugar and Snails) to be herself. I think the novel would have been more poignant had we seen it from her point of view the whole of the way through.

So what am I doing differently this time with my current three-handed WIP? For a start, there’s unity of time and they’re all living in the same small place. The hospital closure that connects them (Matilda as a patient; Janice as staff; Henry – who was George only a few days ago – as NIMBY homeowner) is apparent almost from the start. But this isn’t a single story told from three different points of view; there are connections between their separate lives for the reader to discover (or guess at) as the novel progresses.

I do still have a structural problem with this novel, however. Matilda’s backstory needs to come out in the end yet, because of her entrenched delusions, she can’t reveal this for herself. I did consider introducing a fourth point-of-view character who could show this to the reader on her behalf, but it would have meant a time jump which I thought too messy. Strange Girls includes an epilogue in which a minor character pulls the strands together, but this was something I’d have happily done without as a reader.

As I’m still formulating my opinion on this type of structure, I’d welcome your views. As a reader, how patient are you with not knowing how the separate strands link up? Can you offer any examples of where this three into one structure works well? As a writer, have you tried merging separate stories within a novel and how successful has this been?

Thanks to Tinder Press for my proof copy of Strange Girls. For another look at structure, please see my post This Is the Water and The Cold Cold Sea and my review of This Beautiful For my confession of how I’m swinging both ways regarding NaNo see my piece on the Inspired Quill Blog.
Thanks for reading. I'd love to know what you think. If you've enjoyed this post, you might like to sign up via the sidebar for regular email updates and/or my quarterly Newsletter.
18 Comments
Geoff link
13/11/2014 03:48:45 pm

I enjoy different POVs and, done well, they can make for compelling storytelling. I suppose it is inevitable the reader may prefer one over the others but that shouldn't put you off. Last orders by Graham Swift, for which he won the Booker has, if I recall right, four or five POVs and the person who the story is about doesn't have any (because he's dead). It takes until the last couple of chapters for the reason for the tensions to be apparent and the untangling, by following different lines as well as across different time periods works well.
Thanks for making me think about my WIPS with multiple POVs. A very good question: whose story is it? I shall now ask myself that.

Reply
Annecdotist
14/11/2014 02:50:37 am

Thanks for this, Geoff. I don't think I've read Last Orders but have read about it – am I right in assuming that while there are separate points of view we know from the offset they are all connected through the funeral and read on to discover more.
What I'm trying to get at here, albeit somewhat clumsily, is the novels that start with distinct and separate plotlines tracing characters that have absolutely no apparent connection, until later in the novel. I can't think of any examples but I think some very accomplished do manage to pull this off (I don't know what the secret ingredient is) but for some of us – perhaps especially me with previous versions of Sugar and Snails, which you did actually read – it's a bit risky.

Reply
geoff link
15/11/2014 03:50:43 pm

yes, you are right. Cloud Atlas by David Mitchell sort of fits that bill, doesn't it? Three stories that you only realise the links as you rad through t the second half of he book. I'll keep on thinking

Reply
Annecdotist
16/11/2014 03:32:29 am

Cloud Atlas is a prime example, Geoff – I think there are actually seven stories with a very weak thread running through. But what a marvellous novel! I think it works because we get the two halves of each story in sufficiently lengthy chunks and because of the excellence of the writing. Those of us with more average abilities should follow him with caution.

Irene Waters link
14/11/2014 03:56:52 am

I have read a few books which use this POV writing. Most I admit I become attracted to one character and the rest I would happily do without their POV. One book where it worked for me though was IQ84 by Murakami.There is no apparent connection at the beginning and slowly it unravels (or intertwines) as the novel progresses. Films occasionally do it well but again I usually lose the plot and find them difficult to follow.

Reply
Annecdotist
14/11/2014 10:37:32 am

Thanks, Irene, I think that's definitely a risk – the reader being only interested in the one voice and frustrated having to visit the others

Reply
Lisa Reiter link
14/11/2014 07:07:58 am

Forgive me for I am sinning and asking forgiveness rather than permission!

Just seeing if I can post a photo here successfully. Please do delete this comment!
Lisa xx https://sharingthestoryblog.files.wordpress.com/2014/11/p1010745.jpg

Reply
Annecdotist
14/11/2014 10:39:06 am

You're welcome, Lisa, I think it answers a question I've wondered myself – you can't post pictures in the comments here

Reply
Charli Mills
15/11/2014 04:07:47 pm

I feel like I'm looking over your shoulder taking notes. My first novel (unpublished), is one POV. It's one woman's story of her experience. I intentionally kept it straight forward because it was my first completed novel. I have a fascination with history, yet know that events are often skewed by the prevailing POV. I've always wondered if we could see a clearer picture by rounding out multiple POVs, including minority voices. That's my current attempt--to tell the story of two men who engaged in the first recorded "wild west gunfight" through the POVs of three women largely ignored by historians. To me, this seems straightforward--all three POVs end up in one place, but how to tell it and how to save the reveal for the end is a structural challenge. I'm working on structure as much as just cranking out words. I'm writing scene by scene without fully knowing how they will show up in the book's timeline.

One writer, Robert Jordan, has mastered a similar story-telling process with some ridiculous number of POVs in his 14-book epic series. Basically it is a story leading up to the end of time, the "last battle." What I enjoy about the multiple POVs is that we (as readers) get to "see" a fully-fleshed world. Not only do we see people through the gaze of others, but we see who they think they are. He does it in such a seamless way.

In less well-crafted forms, I find multiple POVs annoying as a reader, feeling like I get the same story rehashed between his and her perspectives. I think you have to have a point to doing multiple POVs. Thank you for hosting this discussion!

Reply
Annecdotist
16/11/2014 03:43:49 am

I think you were wise to go for simple with your first attempt at novelising. I've had to learn the hard way that less can be more in terms of structural complexity.
But I think you're absolutely right with your current WIP as the different viewpoint characters will all bring something important to the whole. Also, because it's based on historical events of which your readers will have some prior knowledge, it's important that you can represent it in a different way.
I think what was difficult for me about Strange Girls is that each of the women had their own story which perhaps mattered more than the story they unwittingly had in common. So the link felt tenuous.
I'm interested that you are building the structure of yours as you go along. I initially thought I'd write mine from beginning to end one point of view at a time, but it hasn't worked out that way as I'm relying on the interactions to discover the story. Apart from flashbacks, there's a fairly straightforward timeline but I'm sure, like you, I'll end up having to move several scenes around. So far, I'm resisting jumping to the ending – that's the clearest part to me right now.
Thanks for keeping me company on my first pseudo-NaNo! Not sure I'd have started without you being so convinced it works.

Reply
Charli Mills
18/11/2014 09:56:05 am

I thought about the same process, Anne (one POV at a time) but from the beginning it's been a back-and-forth telling that has required each of the thre POVs to progress. Funny, my ending is the clearest part too, and I have the last leg of my story-board W filled out so I know how the scenes will unfold. I have also resisted jumping in there, as well, trying to get at the things that must be set up first. Each POV represents a different aspect of the story-as-we-know it and if I can bring it to that last leg of the W, it will lead to a previously unconsidered reveal of what happened on a single day in history. It takes three women to show what happened between two men! I appreciate you sharing your process and literary studies (book reviews). It's so helpful! I'm glad the No NaNo is working and I've enjoyed the company, too!

Annecdotist
19/11/2014 02:42:31 am

I'm somewhat reassured that you haven't got the whole story board worked out as yet and interested that we're following similar processes. I love finding out what one character reveals about another which wouldn't work so well concentrating on one character at a time. Perhaps that's for a later stage in trying to work on the distinctiveness of the three voices. It's really exciting in your WIP that by letting the three KNOWN perspectives interact we discover something totally new about something we thought was already sewn up. I kind of knew you were doing that but it becomes clearer in this comment and I'm wondering whether that's something I could take across (perhaps I already am doing) into my own WIP where the story is pure invention but the three characters do represent different takes on the phenomena at time hoping that this could bring new insights for some readers.

Lori Schafer link
17/11/2014 07:37:58 pm

You may be familiar with Laura, the 40s movie with Gene Tierney, Dana Andrews, and Vincent Price, but if you haven't read the original novel by Vera Caspary, you might check it out. It's not a fantastic novel, but the POV changes are fairly well done, and the reveal is handled well, all things considered.

I don't mind two points of view, and in Laura they were pretty easy to follow because the change happens every chapter. Three I think can be tough to pull off. Valley of the Dolls abandons one character for a couple hundred pages to catch up on the other two, which is annoying but also perhaps builds some suspense.

An interesting side note - I've actually run across any number of publishers who specify in their guidelines that they will NOT accept novels told in multiple points of view from other than well-established authors. This suggests to me that it must be very tough to do well, and even tougher to sell.

Reply
Charli Mills
18/11/2014 10:23:13 am

I'm going to jump in here because I really appreciate what you have to say in regards to this discussion on POVs. I've also seen the same guidelines regarding multiple POVs. That's why I stuck with one for my first novel. Yet, in an early draft, my editor pointed out a few areas that I had slipped into a second POV. As a writer, I didn't even realize I had done that. POV in third person can get tricky. At least in first person, it's obvious when you switch from "I" to "she" in perspective.

Geoff makes an excellent point, too--whose story is it? When I think of my first novel, the answer is clear. It's the main character's story. In my current WIP, I played around with flash fiction all summer trying to answer that very question! Historians claim the story is Wild Bill Hickok's. A second camp claims the story is David McCanles's. Another writer working on a play says it is Monroe McCanles's story. Yet, I think to understand the story about these males, you have to see it unfold from the gaze of the females involved.

So, I believe there can be a purpose to multiple POVs. As to selling, I think I've already shot myself in the foot by genre hopping. My intent was to write commercial fiction until I mastered the process of novel writing and better understood the book publishing industry. But my love of history suckered me into this WIP.

I'm interested in Anne's WIP, too and how she's using the different POVs to weave threads to the reveal. Also, I'm reading Geoff's book and absolutely love the character Harry Spittle. I want to read it because of the character. In that sense, it's like what Irene says about getting attached to one character more than another. I think Geoff could have incorporated another POV, but it would have been pointless and detracted from Harry. By not seeing other POVs, certain tensions stay hidden which is important for the plot. It's all about the ultimate purpose of the story and how it's going to take shape.

Reply
Annecdotist
19/11/2014 03:08:49 am

Just to add, Charli, regarding selling – won't readers be really interested in your current novel? I think history from a different perspective is really popular – or maybe I'm just hoping for you?

Charli Mills
19/11/2014 12:14:19 pm

Selling would be another terrific topic. With a marketing background, it's ingrained in me that you "sell" to a "target audience." So everything you write in marketing is geared toward selling the idea of your product or service as the solution your target audience wants. That brings us to wants versus needs. We need to drink water, but we want the convenience of grabbing a bottle at the store or the affluence of carrying around our own special $20 bottle that says we are hip, and green as well as hydrated. Wants always trump needs. That's why there's a ridiculous number of water bottle options in the retail market. Bringing the idea of selling back to book. What do readers want? It's a balancing act for a writer to discover that while also writing what we want to write. We could really delve into this topic and I think it's something I'll be working on over at Carrot Ranch because I'd love to hear the feedback of others in the industry like agents, publishers and Indies.

Annecdotist
20/11/2014 08:00:52 am

After a meeting with my publisher this week, I'd be interested in your take on marketing, Charli. I think there is a fair bit of carryover from business in marketing a novel. The mindset I'm starting to get into is first identifying what are the "selling points" then seeing what the market is for those points and finally the strategy for getting it to those particular groups of readers. (Sounds easy, doesn't it?!!)
Yet wouldn't you think if companies have found a way of selling people something they get for free – at least in the West – straight from the tap, then selling the novel should be a cinch!

Annecdotist
19/11/2014 02:29:48 am

Thanks for pitching in, Lori, and no, I'm not familiar with that movie – perhaps they'll show it on TV over Christmas!!
100 pages without a peep from a point of view character? Doesn't sound so good from here, especially given that the average novel is around 300 pages.
Very interested to learn that some publishers want to accept multiple POV novels from unknown writers. Given Charli's note below, I'm wondering if it's a US thing (or I just haven't read the guidelines properly). But I'm not sure there'd be as much objection here, for example, one of the debut novelists I've featured here, Carys Bray has a novel from six different perspectives:
http://annegoodwin.weebly.com/carys-bray.html

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Photos from havens.michael34, romana klee, mrsdkrebs, Kyle Taylor, Dream It. Do It., adam & lucy, dluders, Joybot, Hammer51012, jorgempf, Sherif Salama, eyspahn, raniel diaz, E. E. Piphanies, scaredofbabies, Nomadic Lass, paulternate, Tony Fischer Photography, archer10 (Dennis), slightly everything, impbox, jonwick04, country_boy_shane, dok1, Out.of.Focus, U.S. Fish and Wildlife Service - Midwest Region, Elvert Barnes, guillenperez, Richard Perry, jamesnaruke, Juan Carlos Arniz Sanz, El Tuerto, kona99, maveric2003, !anaughty!, Patrick Denker, David Davies, hamilcar_south, idleformat, Dave Goodman, Sharon Mollerus, photosteve101, La Citta Vita, A Girl With Tea, striatic, carlosfpardo, Damork, Elvert Barnes, UNE Photos, jurvetson, quinn.anya, BChristensen93, Joelk75, ashesmonroe, albertogp123, >littleyiye<, mudgalbharat, Swami Stream, Dicemanic, lovelihood, anyjazz65, Tjeerd, albastrica mititica, jimmiehomeschoolmom, joshtasman, tedeytan, striatic, goforchris, torbakhopper, maggibautista, andreboeni, snigl3t, rainy city, frankieleon