As a Romance Writer, my preferred method of crafting stories is to write them in third-person limited/dual point of view. I like being able to convey both sides of the story as a relationship between the two main characters develops. Occasionally one of the secondary characters will get a word in and give their opinion on proceedings, but there needs to be a darn good reason for them doing so – or they are just too damn noisy.
In saying that, my characters can get rather vocal while I’m drafting, shouting out their wishes and desires until I write it down, sometimes it’s even contrary to how I thought the story should go… but it is their story to tell… and I’m getting side-tracked.
But, in my current WIP, my preferred method of storytelling is not the one I’m using. Instead it’s being written in third-person/single point of view, for two reasons.
Firstly, I like to challenge myself to try different ways of writing something, because if you aren’t learning through making mistakes, your writing won’t improve – can’t.
Secondly, it’s the only way this story could be told, effectively. It’s definitely a challenge and throwing up questions about how I handle all sorts of issues within the story narrative that might not have been thought of if I’d continued with a dual point of view.
So why? And how is it challenging?
The why is easy, or at least for me – and other writers may have chosen to stick with dual point of view or even switched to first-person narrative – with the story being a historical romance set between two people of vastly different cultures and around an often over looked conflict. I suppose being bookended by the Boer War and World War I, it is easily done, but it is also interesting in that during the short duration of The Boxer Rebellion in 1900, nations who would soon be fighting against each other, fought alongside each other on Chinese soil… then again European Nations, probably not that surprising and I’m getting side-tracked again. I didn’t think I could do the Chinese side of the story justice if I tried to write it in dual point of view, and so made the decision to write the story from the point of view of the British character.
And the how… well let’s just say it would be rude to assume everyone in the world spoke English or had universal translators at hand. So, the challenge was how to show the reactions, the beliefs and the cultural situation of the Chinese character without doing just that and to also show the developing relationship between the two main characters.
I mean, he could remain silent, the British character being constantly confused or through the wishy-washy- hand-wavy ways of giving a small insight into what is happening with their interactions. Again, I didn’t want to do that. It felt like I would be either trying to white-wash the whole thing or come across very dismissive of the Chinese character.
Instead I chose to incorporate the Chinese Language – Mandarin – into the story, whenever he couldn’t express something with the limited English he did know. I never thought when I decided to learn Chinese four years ago that I would be using it to write love scenes… but I have and I think the story is richer for it.
What it has meant is that I now have a draft manuscript littered with Chinese sentences I need to double check the grammar for or hunt out better ways of expressing it; sentences in brackets waiting to be translated and ones which I’ve put into it, but forgot to put the English translation beside it and I can’t remember exactly how I wanted to word it in English. Whoops. Sometimes I end up spending hours translating from one language to the other… minutes that flow past quick because it’s a lot of fun doing it or at least to me it is.
Naomi Aoki would love to runaway to Japan or China and live there for a few years… but she can’t. Instead she goes there in her books, hoping to drag the reader into a world they’ve never been to before. Historical. Contemporary. Time offers no constraint to the stories she writes, happily dabbling in both so long as there is a happy ending.
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