Missed parts one and two of WU’s interview with Jeri Smith-Ready? You can catch up HERE and HERE. In this, our final chunk-of-the-chat, we talk about POV, dialogue and writing screenplays, among other things. (Did you know that Jeri’s romantic comedy script, Between the Lines, made it to the quarterfinals in one of the world’s largest, most competitive screenwriting competitions in the country, Scriptapalooza?) We also chat about her relationship with LUNA, cover flap flap, and the best advice she’s ever received. Enjoy!
Part 3: Interview with Jeri Smith-Ready
Q: Eyes of Crow is told exclusively from protagonist Rhia’s point of view. What benefits and challenges did this choice bring? Was it an easy decision to make?
JSR: I’m generally a big fan of single-person POV stories, both as a reader and a writer. I like the emotional and psychological intensity it provides.
But the choice depends on the novel. For a coming-of-age story like Eyes of Crow, it felt appropriate. Voice of Crow, which has a larger scope in general, has four POV characters (and Wings of Crow will have six–wheeee!!). The POVs are very deep, i.e., there’s no omniscient, authorial voice, and even the narrative portions are from the unique perspective of that particular character, describing things as he or she would.
For example, the two Wolf POV characters (Marek and Alanka) experience the world primarily through scent and sound, and being from Kalindos, their “tongue” is more casual and clipped than Rhia’s. Filip, a Descendant from an upper middle-class family, uses more sophisticated language even in his thoughts. And unlike the others, he thinks of an animal as “it” instead of “him” or “her.”
More importantly, each character has his or her own journey. I wouldn’t add a POV for just a scene or two for the sole purpose of imparting story information or another “camera angle,” because to me character is always paramount.
As to the challenges of single-person POV, I can think of several. [Read more…]