21st July 2017
Earlier in my writing career, I had this stolid notion that writing from a third person perspective was the only true literary mode, and that all else was cheating. So, I stuck to it. Every book I wrote was from a she/he perspective. Writing from an "I" perspective seemed little more than journal writing, I would say, and was a trick to draw the reader in without having to do any real writing. It's tougher, was my argument, so it must be better. I have about five unpublished novels written this way. I wrote my first novel in the third person, but it wasn't until I changed it to two first person voices, that it really seemed to gel, and I got my agent shortly after.
I think the reason first person perspective works (for me, anyway) is not so much how it reads as how it stops the author (me) from standing back emotionally from the writing. It's more uncomfortable, but more accessible, too.
My published book Veil Of Time is written in the first person. My protagonist, Maggie Livingston, gets to tell her own story. But there still lurks a sneaking suspicion, a voice that comes in the night and whispers that I was right in the first place, that real writing is done from out there and not up close in the squeaky personal voice. Writing the second book in the series, Druid Hill, I opted for third person narrative. It allowed me to get into more than one head. But for the final book, I climbed one more time into the skin of Maggie Livingston and told her story from the inside out. It is Maggie's Swan Song, after all, so it seemed she ought to get to sing it herself.
Still, the doubts persist: my literary heroes, for the most part, never stooped to this. Steinbeck, Emily Bronte, Lewis Grassic Gibbon. But, then, I am not without good company either: F. Scott Fitzgerald, Alice Walker, Ken Kesey, Irvine Welsh, and not forgetting Emily's sister, Charlotte.
It's just that when I write my Opus Magnum, I will probably write it in the third person.