Daily Archives: July 31, 2020

Dear Extra Squeeze Team,

I have three MCs in my historical fiction novel; each one in a different country. A critique pointed out that the voice kept changing. How do I keep the voice constant while maintaining the three different cultures?

Rebecca Forster 

USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.

This sounds like an exciting and intricate project. It also sounds like you need to stop and assess your critique group’s input. Having not seen the work it’s hard to make a judgment regarding your question, but I think the changing voices would be necessary for a project of this scope. So ask yourself if, in this instance, is your author’s instinct appropriate or your critique group’s caution?

I wrote a book called Before Her Eyes that had first person and third person parallel stories. The voices had to be different and I wrote them as such. Readers had no problem with this.

What I do question, however, is the suggestion that you have three main characters. I will accept they are the MC’s of their separate sections of the book. However (again an assumption) they will all come together at some point. There will have to be a conclusion to this book and that means one character will have the star turn.

I would be curious to know if you really have three MCs or one MC and some very, very strong supporting characters. I will refer back to Before Her Eyes. While each track had a main character the climax of the book showcased one. His journey overrode hers. Good luck.

Jenny Jensen

Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.

Whose voice? I’m going to assume you mean the narrative voice—1^st PPOV or 3^rd PPOV. It would be critical for the voices of the three separate MCs to be different from one another but consistent within each voice. I’m not so sure it would be so for an overall narrative voice unless it is 1^st PPOV. That makes the narrator a character as well.

If we are talking 3^rd person narrator be clear in your mind about the intent and purpose of the narrator—is it the omniscient 3^rd person? Then you have the advantage of a voice that knows everything from the thoughts of a character to where in time all the characters are. Think of it as your writerly inner voice and stick with that for the omniscient narration.

If you are using a 1^st person narrator then it is a character with it’s own strengths and weaknesses and agenda. As with any character the author needs to truly know who that character is. Tapping into that understanding will keep the narrative voice consistent through out.