Too Subtle

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Writing a thriller with dual protagonists (in my case, Tobie and Jax) presents several difficulties, many of which fall under the general heading of “point of view.”

For those of you unfamiliar with the writers’ expression “point of view” or POV, it simply refers to whose head we’re in. In other words, are we as readers experiencing the action from Tobie’s perspective or from Jax’s perspective? If we’re in Tobie’s perspective, we see what she sees, hear what she hears, and know what she’s thinking and feeling. She can only guess what’s going on in Jax’s head.

Writing is all about choices. And one of the reasons POV is troublesome when you have two equal heroes is because the writer has to decide, Okay, whose POV am I going to write this scene from? In some cases the choice is obvious. At other times, less so. And how do you remind readers whose POV they’re in—particularly in a fast-paced book without a lot of introspection?

I always have some sort of clue at the beginning of each scene to let readers know whose POV we're in. But because of the nature of the books, those clues are often very subtle. So I also decided from the very first book that Tobie would think of herself as “Tobie” while Jax thinks of her as “October.”

Ironically, I never told my coauthor, Steve, I was doing this—I just assumed he’d noticed. I mean, he’s read each of these books over and over again, right? Well, I came right out yesterday and asked him if he’d realized that Jax always thinks of Tobie as “October” so that it’s one way to tell who is the POV character in any given scene. He stared at me blankly and said, “Really? I never noticed.”

So now I’m thinking, if Steve hasn’t noticed, I doubt anyone else has, either. Although I’d like to think maybe readers notice subconsciously.

No? Oh, well; at least it serves to remind ME whose head I’m supposed to be in.