By Lisa Alber
Since the fall, I’ve been working on a standalone mystery I’m calling The Shadow Maiden. It takes place at a girl’s school, hehe, has a gothic vibe, and features a back story that’s complex enough to need a secondary story line.
For the back story, I’m dabbling in omniscient voice. Ay yi yi, talk about masochistic! I’ve been fooling around with omniscient voice off and on since 2006 when I first tried it out in a workshop taught by Elizabeth George. I got hooked on the challenge of it, I guess.
There are many reasons not to use omniscient voice:
- It’s not exactly in fashion in the publishing world.
- If you don’t watch out, you’ll end up in head-hopping third-person point of view.
- It’s challenging in the most subtle way ever because although the narrator can tell the reader anything—because the narrator knows everything—you can’t be inside the characters’ heads in the telling. It’s kind of like knowing a person so well you can talk about what she’s thinking, but not her exact thoughts.
- Maintaining a consistent voice that’s not any of the characters’ voices will drive you effing bananas.
- We’re used to reading novels that read intimately—first person or close-in third—so writing from a more detached perspective feels awkward.
- Why make our writing lives harder than need be?
Given all that, then WHY oh why this infuriating choice on my part? (FYI: The main story is in first person, so we’re intimate with my protagonist Tessa. The secondary story will probably be about thirteen chapters out of fiftyish.)
First, my sense of the story (which I hope I can convey) includes a presence that hovers over Grayvale Mansion (girl’s school inside a mansion, hehe), the surrounding lands, and the local lore. I imagine this as the voice of my omniscient narrator who understands how certain events in 1986 in the life of the mansion and its inhabitants (including Tessa) come to bear on a crime in the present day.
Second, on the practical side, omniscient voice provides an ensemble method of sharing what’s going on with many characters at once, which is what I need. Otherwise, I’d have to use alternating third-person points of view—which is the done thing these days, don’t get me wrong—but I’d rather only have two voices in the novel: Tessa’s and the omniscient narrator. Otherwise, the second storyline will read too splintered for my taste. (Is that complicated, or what?)
Anyhow, all this is to say that I’m having a ton of fun writing my new novel. We shall see!
Here are a few posts I found about omniscient voice: