An Ember in the Ashes Author Sabaa Tahir Makes a Case for the Multiple POV Novel
Today Sabaa Tahir’s An Ember in the Ashes, a lush, bloody fantasy set in the fully fledged world of the Martial Empire, explodes onto bookshelves everywhere. It’s narrated in turns by Laia, a Scholar girl whose people were brutally vanquished by the now-powerful Martial Empire, and Elias, an aspirant in the series of deadly Trials that will determine the empire’s next leader. They cross paths when Laia is embedded as a spy, masquerading as a slave, at Elias’s military school, in a mission that may very well amount to suicide. An Ember in the Ashes makes an irresistible case for the multiple-POV novel on its own, but here’s Tahir to explain her choice.
An Ember in the Ashes (Ember in the Ashes Series #1)
Hardcover $21.99
An Ember in the Ashes (Ember in the Ashes Series #1)
By Sabaa Tahir
In Stock Online
Hardcover $21.99
Recently, I heard a group of readers describing multiple point-of-view novels as a tired trend. It pained me to hear it. While I adore novels with single narrators (particularly idiosyncratic and unreliable ones), to me, there’s nothing as compelling as a well-written novel with multiple points of view.
Perhaps it’s a holdover from my days as a newspaper editor; getting multiple sides of the same story is as important to good journalism as getting the facts right.
Whatever the case, oftentimes, for a story to feel complete to me, I need more than one point of view. What would Game of Thrones be without the perspectives of Ned Stark, Tyrion and Daenerys? Or Gone Girl without Nick and Amy? There are dozens of examples of multiple POV novels that just wouldn’t have worked any other way. And here are some reasons why:
World-building. In fantasy and science fiction, world-building is an essential part of the story. But as a reader, I don’t just want descriptions of food, clothing, and places. I want to understand the world to its core, through the eyes of those who live in it. Multiple characters’ opinions on societal roles, as well as their perceptions of themselves and others, help me lose myself in whatever strange and wonderful setting I’m reading about.
Villains. Everyone loves a good villain. But the only time I see the villain’s point of view is in a multiple perspective novel. With villains I love to hate (like Jaime Lannister), I find getting in their heads and seeing their motivations adds an extra, juicy dimension to the story. And when I find myself sympathizing with a villain, that’s even better, because then I’m far more invested in the character and, thus, the book. I’d especially love to get an inside look at a character who the hero of a book thinks is villainous, but who might not be so horrible after all. (For instance, I would do a lot for a chapter from Snape’s point of view.)
Characterization: Great novels have great characterization no matter what. But multiple points-of-view let me examine characters from entirely different perspectives, allowing me to learn more about everyone in the process. Nick’s observations of Amy in Gone Girl told me as much about him as they did about her. Hearing multiple characters’ thoughts on one another often allows me to see the growth and development of each in unusual ways. A great example of this can be found in The Book Thief, in which Death’s observations of Leisel helped me fully appreciate her growth as a character.
Pacing. One of my favorite multiple perspective books is The Golem and the Jinni, by Helene Wecker. The story goes in completely unexpected directions. Just when I thought I knew what was going to happen, the point of view shifted and I was experiencing something entirely different, and just as compelling. These switches had me frothing at the mouth for more. Wecker is an incredible writer, and there’s something magical about the way she fits everything together seamlessly by the end of the novel. This book was a great example of how multiple points of view can keep pacing crisp, so the reader never has the chance to get bogged down.
Despite all of this, I do still think a badly written multiple POV novel can turn a reader off to the style forever. Here are a few that will win over any reader, adult or teen:
The Joy Luck Club, by Amy Tan
Let the Great World Spin, by Colum McCann
My Name Is Memory, by Ann Brashares
The Book Thief, by Marcus Zusak
Jellicoe Road, by Melina Marchetta
Recently, I heard a group of readers describing multiple point-of-view novels as a tired trend. It pained me to hear it. While I adore novels with single narrators (particularly idiosyncratic and unreliable ones), to me, there’s nothing as compelling as a well-written novel with multiple points of view.
Perhaps it’s a holdover from my days as a newspaper editor; getting multiple sides of the same story is as important to good journalism as getting the facts right.
Whatever the case, oftentimes, for a story to feel complete to me, I need more than one point of view. What would Game of Thrones be without the perspectives of Ned Stark, Tyrion and Daenerys? Or Gone Girl without Nick and Amy? There are dozens of examples of multiple POV novels that just wouldn’t have worked any other way. And here are some reasons why:
World-building. In fantasy and science fiction, world-building is an essential part of the story. But as a reader, I don’t just want descriptions of food, clothing, and places. I want to understand the world to its core, through the eyes of those who live in it. Multiple characters’ opinions on societal roles, as well as their perceptions of themselves and others, help me lose myself in whatever strange and wonderful setting I’m reading about.
Villains. Everyone loves a good villain. But the only time I see the villain’s point of view is in a multiple perspective novel. With villains I love to hate (like Jaime Lannister), I find getting in their heads and seeing their motivations adds an extra, juicy dimension to the story. And when I find myself sympathizing with a villain, that’s even better, because then I’m far more invested in the character and, thus, the book. I’d especially love to get an inside look at a character who the hero of a book thinks is villainous, but who might not be so horrible after all. (For instance, I would do a lot for a chapter from Snape’s point of view.)
Characterization: Great novels have great characterization no matter what. But multiple points-of-view let me examine characters from entirely different perspectives, allowing me to learn more about everyone in the process. Nick’s observations of Amy in Gone Girl told me as much about him as they did about her. Hearing multiple characters’ thoughts on one another often allows me to see the growth and development of each in unusual ways. A great example of this can be found in The Book Thief, in which Death’s observations of Leisel helped me fully appreciate her growth as a character.
Pacing. One of my favorite multiple perspective books is The Golem and the Jinni, by Helene Wecker. The story goes in completely unexpected directions. Just when I thought I knew what was going to happen, the point of view shifted and I was experiencing something entirely different, and just as compelling. These switches had me frothing at the mouth for more. Wecker is an incredible writer, and there’s something magical about the way she fits everything together seamlessly by the end of the novel. This book was a great example of how multiple points of view can keep pacing crisp, so the reader never has the chance to get bogged down.
Despite all of this, I do still think a badly written multiple POV novel can turn a reader off to the style forever. Here are a few that will win over any reader, adult or teen:
The Joy Luck Club, by Amy Tan
Let the Great World Spin, by Colum McCann
My Name Is Memory, by Ann Brashares
The Book Thief, by Marcus Zusak
Jellicoe Road, by Melina Marchetta